Broderick gives a generous performance, turning on his patented man-child charm when called upon, but also stepping back and allowing his leading lady and sidemen plenty of space to maneuver. O’Hara makes an apt foil for him, as her persona, even in upbeat scenes, always carries an undertone of fragility.
Theatre
Broadway Review: Nice Work If You Can Get It
by Ethan Kanfer
May 3rd, 2012
Broadway Review: Jesus Christ Superstar
by Ethan Kanfer
April 5th, 2012
Today, with The Book of Mormon taking irreverence to new heights and shows like American Idiot cranking up the power chords, any production of Superstar will have to rely on the score’s intrinsic qualities in order to compete for the attention of younger theatergoers. The good news is that the show’s construction holds up well.
Less Than Kind by Terence Rattigan: Yvonne Arnaud Theatre, Guildford, England.
by Jem Bloomfield
February 15th, 2012
It’s Rattigan’s attempt to take the basic Hamlet situation and write a play which is both funnier (more jokes and stronger sense of the ludicrous in life) and more serious (more realistic and less willing to solve everything with corpses.) If you’ll allow him the chutzpah, it’s much more fun than it sounds.
Neighbourhood Watch by Alan Ayckbourn. Pre-West End Tour.
by Jem Bloomfield
February 10th, 2012
Neighbourhood Watch never feels like an “issue” play, but the London riots, the increasingly draconian Law and Order rhetoric from the Conservative-led government, and a series of police shootings make it exceptionally timely.
Hamlet, starring Michael Sheen at the Young Vic, London
by Jem Bloomfield
January 27th, 2012
The psychiatric setting also forces – or helps – the production into a particular vision of the play. In some ways this is quite an old-fashioned take, with Hamlet framed as a study of a mind in disintegration.
The Weekly Listicle: The Stage On Screen
by Dan Fields
December 17th, 2011
As the holiday season builds to its peak, we movie watchers face a release pattern that seems a bit less robust than usual. However, there are plenty of perfectly interesting options out there. In addition to the major franchises sequels like Sherlock Holmes and Mission Impossible, there are a few titles running on the outside [...]
One Man, Two Guvnors, Adelphi Theatre, London
by Jem Bloomfield
December 16th, 2011
For this show is funny. I mean, it is really funny. Not the kind of funny you might associate with a National Theatre adaptation of an eighteenth-century Italian play. It’s splutteringly, potato-throwingly, unreasonably hilarious.
Ross Noble and Friends, Cranleigh Arts Centre, England
by Jem Bloomfield
December 16th, 2011
It showcased all of Noble’s best points: the delight in the ludicrous, the ideas tripping over each other to get out and the revelling in how foolish he may look to an audience. And of course The Voice.
Broadway Review: Alicia Keys’ Stick Fly
by Ethan Kanfer
December 15th, 2011
This setup abounds with comic potential, and Diamond wrings plenty of laughs out of the awkward dynamics at hand. But there is much more here than just the usual dysfunction junction drollery. The youths, especially Taylor, have a lot to say about the way the world looks now, and much of their criticism is justified.
Theatre Review: Noel Coward’s Star Quality, Yvonne Arnaud Theatre, Guildford, England
by Jem Bloomfield
December 9th, 2011
There’s a feeling you get about ten minutes into a Noel Coward play. The lights have come up, the set has been admired, the opening salvoes exchanged and then – whether it’s Hay Fever, Present Laughter or Private Lives – you realize that we’re in here for the duration. It’s like a moment of mild claustrophobia.
Theatre Review: The Holly and the Ivy, Yvonne Arnaud Theatre, Guildford, England
by Jem Bloomfield
December 2nd, 2011
The characters are built with that terrific assurance of some mid-century writers (C.P. Snow and Anthony Powell spring to mind), which balances the need for them to represent social types or attitudes to life, whilst also allowing them rein to be individual and surprising.
Theatre Review: Three Days in May, Yvonne Arnaud Theatre, Guildford, England
by Jem Bloomfield
November 28th, 2011
Clarke certainly made good on his obligations. He barked, he grunted, he rumbled, and, once you got used to the fact that he was acting on a slightly more heightened plane than the rest of the cast, he gave a surprisingly subtle account of a figure who was larger than life even during his life.
Broadway Review: Private Lives
by Ethan Kanfer
November 23rd, 2011
Luckily, any such anti-Tinseltown prejudices are quickly dispelled within the first few minutes of Private Lives. Cattrall and Gross, who both sport impressive theatrical résumés in addition to their IMDB credits, are perfectly at home with Coward’s pacing, elegance and theatricality. At the same time, they wisely steer clear of old school stiffness or stock deliveries of the play’s well known zingers.
Broadway Review: Venus in Fur
by Ethan Kanfer
November 18th, 2011
Anyone who has been through the process will recognize the exasperation, drive and excitement of Dancy’s eerily accurate portrayal of a playwright birthing a new piece (although few of us look as good doing it). He is an apt foil for Arianda, who navigates the hairpin turns of the story with ferocious speed and stunning comic imagination.
Theater Review: Godspell on Broadway
by Ethan Kanfer
November 16th, 2011
Most haunting of all is the ballad Beautiful City, in which Christ speaks not of a kingdom of heaven awaiting us after death, but of faith in the possibility of a better world here on earth. The pained relationship between Jesus and Judas Iscariot is played with moving delicacy by Parrish and Smith. The crucifixion scene, which could easily have been cringeworthy, is instead cathartic and powerful, thanks in part to the way David Weiner lights its Rembrandt-like tableau.

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