Yesterday was the annual post-holiday/new year Broadway death-spree. No, seriously. Almost a half-dozen shows closed. Chaplin, Grace, Dead Accounts, Elf, and War Horse all closed yesterday. 

I still didn’t make it to see Elf this year – but I’m not too sad about it. I am sad I didn’t get to see Dead Accounts because: Norbert Leo Butz. That’s why.

A friend of mine invited me to see Chaplin last Thursday, so I got to see it once more before it closed. I honestly enjoyed that show. I’m not sure how it got such a bad wrap, but that was unfortunate. I hope Rob McClure gets at least a TONY nomination. Grace was meh. And War Horse was just an incredible theatrical experience, but it was Lincoln Center so that couldn’t last forever. 

So as these shows fade (some unfortunately) from our memory, we look ahead to the rest of the 2012-2013 Broadway season. Fingers crossed that it’s more eventful than the fall.


I was lucky enough to work the 2006 Gypsy of the Year competition, and watched it again in 2007. I hadn’t been to the annual celebration of our community since and last night was a lovely reminder of why this community is so fantastic.

Every year around the holidays, all of the shows on Broadway (of whom are already open) and a handful of off-Broadway shows come together to raise money for Broadway Cares/Equity Fights AIDS after performances. This culminates into one huge celebration, the Gypsy of the Year, and celebrates the entire community and presents an award to whichever show raised the most.

Yesterday afternoon’s show including jaw dropping performances and lots of laughs. The cast of The Lion King has always, always had incredible dance performances, and this year was no exception. Bring It On was one of my favorites because it was hysterical, sexy, and mind-blowing. Also: Adrienne Warren was wearing old costumes from the 2000 revival of The Rocky Horror Show, which was a nice blast from the past. Judith Light’s moment on the stage to talk about the theatre community since the 80’s was heartbreaking and inspiring. 

Another favorite: Mary Poppins which performed a skit called “island of the Misfit Shows,” which included shows like War Whores, Grannie, and it’s newest addition, Rebecca

There’s one more performance at the New Amsterdam Theatre today at 2:30. If you’re around, check it out. Click here for more information.  

My Top Ten Moments of Theatre in 2011

It’s always hard to pick just five moments of New York theatre a to wrap up a year. But it’s especially difficult when you’ve seen and processed the most recent season so I thought I’d do a Top 10 list.

1. First on this list is obviously Sleep No More, presented by Punchdrunk. I’m glad I got in on this before people caught on to what was going on down in Chelsea. If you’ve gone to see Sleep No More, you know what it’s like and if you haven’t seen it, there’s really no way to explain it without sounding like a crazy person about why it was such an amazing experience. Save up your money and go buy yourself a ticket for 2012.

2. The next thing that instantly came to mind was Once, currently showing at the New York Theatre Workshop. Based on the indie movie of the same name, it’s a touching story of how one girl helps a musician achieve his dreams (and they kinda-sorta fall in love too). This was such a unique piece of theatre because it starts an hour before “curtain” time. The cast, who doubles as the band, is playing, singing, and dancing onstage for an hour before the actually story starts (and don’t worry, you’ll know when the show starts). They announced their transfer to Broadway hours before they opened off-Broadway, which is pretty amazing. It’s Spring Awakening for adults and it’s theme is to not live your life without pursuing your dreams – which is a pretty important one, if you ask me.

3. Next up comes The Hallway Trilogy presented by the Rattlestick Playwrights Theatre and written by my favorite, Adam Rapp, which I just realized I never actually wrote about and that’s probably because there was no way to translate the experience into words. This was a hundred year history of this one hallway from the time of Eugene O’Neil to a time 50 years in the future when New York was disease free and now financially strapped individuals could make money being injected with ‘old fashioned’ diseases in a museum for the rich to come and witness.

4. I still can’t believe that American Idiot closed only this year; it all seems like so much longer ago. Whenever I think back to one of the most ridiculously energetic performances I saw, I immediately think back to February 27th, 2011 – the night John Gallagher Jr., Michael Esper, and Billie Joe Armstrong left the show. It felt like every single person in that theatre was there for those three guys and you could hear the love pouring out from them. It was just a ridiculous and amazing night, one that I will not soon forget.

5. An incredible moment that makes this list happened only last week. A benefit for Royal Family Productions, Anthony Rapp performed a reading of his brother Adam Rapp’s script Nocturne at Symphony Space, a few blocks from where I live on the Upper West Side in a night titled “Rapp Reads Rapp.” Nocturne was one of the few plays of Rapp’s that I had no familiarity with but oh boy is it amazing, and Anthony did an incredible job with it. By the end he was in tears.

6. I thought Thomas Sadowski was pretty good in 2009’s reasons to be pretty but he left me speechless in this season’s Broadway transfer of Other Desert Cities. His character was so complicated and went through so many emotions that I was absolutely exhausted and heart broken watching him from the front row. 

7. When you try to think of the most fantastic actress discovered out-of-the-blue in the last five years, you’d be hard pressed to think of someone more talented of Nina Arianda and her performance in Venus in Fur. Her performance is a tour-de-force and isn’t to be missed. I’m not sure how to use words to describe it actually. It has to be seen and not described. She crashes through the door ten minutes into the script and the whirlwind that she creates onstage never stops.

8. When I think of Norbert Leo Butz, I will always think of him as my first Roger in Rent in 1998. The next moment I’ll think of is his performance in this year’s Catch Me If You Can. Catch Me was a [mostly] bore of a show that had all the makings of what should’ve been a great musical, but the only reason I saw it twice was to watch Mr. Butz. He danced and moved in ways that I didn’t think he could during the song “Breaking All the Rules.” Watching him on the Tony’s, and then win his second Tony, it was a great thing.

9. I missed Boeing Boeing a few years ago and after seeing Mark Rylance in both La Bete and Jerusalem this year, that will forever be one of my great theatre-related regrets. I will still stand my ground that Mark Rylance was even better in La Bete than in Jerusalem, but for the purposes of doing a review of the year of 2011, I’ll talk about his performance in Jerusalem.  Playing a modern day pied piper in England, you loved him, you felt bad for him, you loved listening to his rambling. Like I said back in April, Rylance might be one of the great actors of our day.

10. I’ve been a fan of Jan Maxwell since I worked at Chitty Chitty, Bang Bang in 2005 and I’ve seen almost everything she’s done since. She’s never won a Tony but this just might be her year with her mouth-dropping turn in this season’s revival of Follies. She brings down the house in Act 2 like I’ve never seen her do. I never knew she could dance like she does, and she’s absolutely heartbreaking. Follies isn’t my cup of tea when it comes to musical theatre, but I’d see it again to watch her onstage.   

So, I think that’s it. Honorable mentions go to War Horse (breathtaking, just absolutely mind-blowing), The Normal Heart (after the 2010 reading, this production was magnificent), The Book of Mormon (I’m glad I saw this in previews), How To Succeed in Business Without Really Trying (Mr. Radcliffe blew me away with his moves, and after wanting to see this show revived again for so many years, this is a great production), and The Amoralists (a fantastic theatre company that produces really unique theatrical experiences such as this one and this one). 

I won’t deny the fact that there was a ton of crap produced on and off-Broadway this year, but it’d be silly to neglect to acknowledge the amazing moments that I was fortunate enough to see too. We’ll see what 2012 holds.

photo taken in April 2011

I believe I’ve seen every play that’s come to fruition on Broadway this season.  One of the most magical experiences you’ll have in a Broadway house is at War Horse, adapted by Nick Stafford, which by no coincidence is probably my favorite play of the season.  To explain why War Horse is so breathtaking reduces it to sound like a cheesy junior high play.  To really understand what the company does on stage, you have to actually see it.

War Horse is an uncomplicated story about boy, Albert (Seth Numrich), in England whose father, Arthur (T. Ryder Smith) buys him a horse and the bond that’s created between the two of them (the boy and the horse).  The father, who’s a raging drunk, sells the horse into the army as the First World War is starting and the boy runs away to join the army and find him.  There’s also the conflict of the rivalry between Arthur and Ted (Boris McGuiver) and his son, Billy (Matt Doyle).

The horse, as a foal, is controlled by three people, and as a mammoth stallion, a total of four people work to bring together a few costume pieces and fabric and create what is nothing short of amazing.  One cast member controls the head and makes the incredibly precise sounds that an actual horse would make. 

There is a tiny bit of singing, mostly English hymns.  The acting is fantastic all around (a favorite of mine was Matt Doyle) and the minimalistic set (by Rae Smith) lets the incredible creation of the horse come to life.  The lighting (Paule Constable) and sound (Christopher Shutt) designs are also breathtaking.   Credit is also due to the directors, Adrian Kohler and Basil Jones.  

I’ve not done the show justice in my description but if you spend money to see one play this season, War Horse is worth every single penny.  The design of the show leaves you wondering if $65 million dollar spectacles, like Spider-man, are really necessary when you can simply ask the audience to suspend reality for 2 hours and use their imagination just a tiny bit.   

(photo via)