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Hong Kong Ballet.
Tight and Intriguing.

By Robert M Massimi. ( Broadway Bob).Published 5 days ago • 3 min read

Robert M. Massimi.
It is a tale as old as time, only it has a twist. This Romeo and Juliet meets Yentel. The Ballet, "The Butterfly Lovers" is a show that must be seen! The sets, the dancing and the acting are all first rate!
Usually my reviews give very little in way of plot, here, the story must be told because it is a complex one and without the background, a viewer will be confused as to the action going on between these great characters.
The story is billed as a tragedy. The two main characters are Zhu Yingtal and Liang Shanbo. It is also billed as a Romeo and Juliet, however, the plot is more intrinsic than that. The dance and the acting go deeper than just a two lover story.
At the David Koch Theatre at Lincoln Center, "Butterfly Lovers" is performed by the Hong Kong Ballet. In the county's transformation to China, many of its underlings are of Chinese genre. It took three containers to on load to the Koch stage. The sets were both massive and impressive.
Zhu (Xuan Cheng), disguised as a man to get into a all male school in ancient China. There she meets Liang (Ma Renjie). It is there that she falls in love with Liang. After her identity is revealed, Zhu's parents arrange a marriage with a wealthy man, which leads to Liang's death from a broken heart. On Zhu's wedding day, the procession goes by Liang's grave, which then opens allowing Zhu to jump in and join him. Their spirits emerge as a pair of butterfies, forever united in eternal love, hence the Romeo and Juliet comparison.
Unlike Western theater and its writings, the Chinese have a different take on love stories. It is not to say that arranged marriages didn't exist in Western culture, it did. In this body of work, however, the fact that she goes against her father's wishes is highly irregular. The other side note here is that in ancient China, girls were not educated other than given the knowledge on how to be a wife.
In a symmetrical 50 minute first act; second act, the ballet works in that the dance and so tightly coordinates with the story, if you know the story-line; if not, the audience can get lost in the dance alone. While the first act has only four scenes, all are strong and resonant. The second act has six scenes that are a little more pithy.
From the lighting, the sets, the orchestra, "The Butterfly Lovers" is a must see. The choreography is some of the best that I have ever witnessed at the ballet. The dance was very uniformed and contrived, and yet it worked so well. In a valiant attempt by the Chinese, this over-the- top ballet hits a high note. Both complex and easy to watch, the two hours with a twenty minute intermission moves quickly.
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A Rain Out at The Delacorte Theatre.
I was looking forward to seeing the great cast of Twelfth Night when the rains came gushing right before the show. It begs the question... why wouldn't the new renovations include a covering of the stage and audience area? For too long, audiences have been rained on either waiting for the show to go on, or while watching the show. By not at least covering the stage, actors run the risk of being injured, whether by rain, or something falling off the trees.
Broadway Bob Massimi, Delacorte Theatre, The David Koch Theatre, The Hong Kong Ballet, Broadway, Tony Awards, Keanu Reeves, Waiting For Godot, Twelfth Night, Hollywood, Washington DC.
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About the Creator

Robert M Massimi. ( Broadway Bob).
I have been writing on theater since 1982. A graduate from Manhattan College B.S. A member of Alpha Sigma Lambda, which recognizes excellence in both English and Science. I have produced 14 shows on and off Broadway. I've seen over700 shows
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Paul Young, Wang Chung,John Waite, Rick Springfield
NJPAC in Newark, New Jersey was pretty crowded last evening to watch and witness some formidable artist of yesteryear. Opening the show with Paul Young who wasn't originally on the card for the evening, played four songs concluding with his hit "Everytime You Go Away".
RMM(BB
ByRobert M Massimi. ( Broadway Bob).2 months ago in Critique

If Great Dead Writers Were on Facebook - 3
I have started these series with the Russian writers and then thought why should I have all the fun alone (thanks to Raymond G. Taylor for the idea to turn this into an unofficial challenge!). So I'm opening it up for others who would like to see if they can bring dead writers into the modernity through their imagined Facebook or other social media posts.
LVL
ByLana V Lynx4 days ago in Critique

Ghalib in the Digital Age: Imagining a Poet on Social Media
Title: Ghalib in the Digital Age: Imagining a Poet on Social Media Subtitle: When the Heart Meets the Screen: Bringing 19th-Century Urdu Poetry into the Modern World
K
ByKhan584about 10 hours ago in Critique

Love comes as friendship within yourself
Love comes as friendship from within yourself, which no one can take away from you. No one can separate you from your love and your true self.
D
ByDarkos6 days ago in Poets
Written by Robert M Massimi. ( Broadway Bob).
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Rolling Thunder
The Vietnam Era.

By Robert M Massimi. ( Broadway Bob).Published about 2 hours ago • 3 min read

Robert M. Massimi.
Musical documentaries are always fun to watch especially when they are enlightening. "Rolling Thunder" at New World Stages gives us a flavor of not only the Vietnam war, but what America was like before, during and after the war.
America was a fresh face before "Nam". Under the leadership of Eisenhower, the country was going well both economically and spiritually. That all changed when John F. Kennedy brought us to war in Southeast Asia ( mention of Kennedy and the war was very minimal in the show). As LBJ escalated the war, the country was ripped apart... the hippy culture would change America forever.
Even though the plot veers at times, Bryce Hallett wrote a good book here. The direction by Kenneth Ferrone locked in the actors very tight adding to the shows fun. Sonny Paladino who did the arrangements and orchestrations did an admiral job even though some of the numbers were a little too jukebox-e. The other question about the arrangements and the songs during the hour forty five minute show is why were certain songs not in the show? Songs like "Run Through The Jungle" by CCR; "The Times They Are A Changin" by Bob Dylan and "Somebody To Love" by Jefferson Starship. It is never easy picking songs for a show like this but the aforementioned songs were staples to the anti-war culture.
The set was well thought out by Wilson Chin. It gave us T.V's from the era which the audience could view as the show played on. The band was well placed for the show as well. Jake DeGroot gave a concert like feel in his lighting, which was the back-beat of the show. Catie Hevner's projection too was excellent; she brought the era to life with her in-depth videos.
All of the acting was strong, however, it was Linda (Cassadee Pope) who was a standout. Her versatility as a wide eyed country girl who is in love, to a woman who has embraced the culture that changed America. Pope was a joy to watch on stage; "the business" that she gives, her singing chops and the great attitude that she gives her roles are tremendous. She was a true leading lady!
"Rolling Thunder" gives the audience a flavor of the Vietnam era, it lays out its history. Thankfully it is not top-weighted politically, it scratches the surface on all accounts, but never goes overboard.
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I did not see "Heathers", however, the two summer shows that I did review: "Joy" and "Rolling Thunder" were perfect for the summer. Both had pleasantry and were easy to watch. "Mama Mia" is up next in what looks to be another heavy load of shows coming to "The White Way".
"Chess" will revive at the Imperial Theatre. "Ragtime" will also revive this fall at the Beaumont at Lincoln Center. "Bettlejuice will reappear at the newly renovated Palace Theatre. "ART makes it way back at The Music Box. The show that most people are waiting for is "Waiting for Godot" with Keenu Reeves. Reeves who has a plethora of movie credits makes his way to Broadway. Depending on the plays direction, this one could be a blockbuster! The same can be said for "Midnight in The Garden of Good and Evil". Depending on how it is directed, this too can be the must see show of the year.
Some other shows that are headed to Broadway: "Queen of Versailles", "Oedipus", Punch at the Friedman Theatre and "Marjorie Prime" which begins in November.
Broadway, Tony Awards, Vietnam, Joy Mangano, Keenu Reeves, "Waiting for Godot", Hollywood, Drew Barrymore, My Life Publications.
60s music
About the Creator

Robert M Massimi. ( Broadway Bob).
I have been writing on theater since 1982. A graduate from Manhattan College B.S. A member of Alpha Sigma Lambda, which recognizes excellence in both English and Science. I have produced 14 shows on and off Broadway. I've seen over700 shows
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The Tony Awards.
The 24/25 season was middling for the most part. There were some really great shows, however, and I want to sum up the year and what and who I think should win.
RMM(BB
ByRobert M Massimi. ( Broadway Bob).3 months ago in Beat

Singer with a Golden Voice
This singer came into the world as Concetta Rosa Maria Franconero, born in the Ironbound neighborhood of Newark, New Jersey, on December 12, 1937. Francis was one of the very first American artists to record her hit songs in multiple foreign languages. She meticulously recorded tracks in German, Japanese, Italian, Spanish, French, and several other languages, allowing her to connect directly with audiences in their native tongues.
RR
ByRasma Raisters12 days ago in Beat

The Soundtrack of Rebellion: How Underground Music Still Shapes the Mainstream
In a world where commercial pop tracks dominate streaming charts and algorithm-curated playlists, one might assume that underground music has lost its influence. Yet, nothing could be further from the truth. Beneath the polished beats of mainstream hits lies the soul of rebellion—sounds born in dimly lit basements, obscure radio stations, warehouse raves, and DIY studios. These subversive sounds not only challenge the status quo but often reshape it. This article explores how underground music movements continue to redefine cultural norms, influence global trends, and inject authenticity into the increasingly manufactured world of mainstream music.
IH
ByIdea hive3 days ago in Beat

Pauline Kael
Sometimes I pretend to be a 1940s screenwriter. My imaginary ego goes on a trip to tell people about the magic of cinema and the hard work that produces a movie. How you need a writer’s room, money, star power and a way to hoodwink studio executives, because all they care about is money and I’m trying to make art. In 1940s Hollywood, I’m trying to establish cinema as an American artform, with carefully crafted plots, new characters, and risk-taking directors.
RR
ByRachel Robbins4 days ago in Geeks
Written by Robert M Massimi. ( Broadway Bob).
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"Joy"
A Thing of Beauty.
"Joy" at Laura Pels Theatre is as pleasant as it is comfortable to watch. Betsy Wolfe (&Juliet, Waitress) plays in the true story of Joy Mangano, the miracle mop inventor. The small theater makes this musical even more charming as it locks in on the set, the costumes and the choreography. "Joy" is a perfect summertime show; it's not to deep, it is fast paced and has a lot of humor. It is also uplifting to watch. Joy Mangano went from a struggling TWA employee to the QVC Queen in one year, selling a record number of mops and still holds as the largest seller on that channel.
Director Lorin Latarro did a masterful job in keeping this upbeat show locked in. The actors clicked all evening, whether it was the brilliant comedic timing or "the business" that they all crafted, Latarro gave the audience something to talk about for a very long time.
While not every song was a standout, Annmarie Milazzo created many fantastic songs...songs like "The Shape of Things", "We Sell Stories", and "Have You Ever Felt That" were all sensational.
As both a singer and actress, Betsy Wolfe is one of the best on Broadway today. In "Joy", like "Waitress", she commands the stage and has an equally impressive stage presence. Joshua Bergasse keeps the choreography simple and neat. The dance here is to support the show and not over power it. Neither are the costumes (Tina McCartney), nor is the lighting (Yael Lubetzky). What stands out in a good way is the sets by Anna Louizos. The sets throughout the two hours are warm and friendly to the eye. Louizos adds to the plot in that we get Joy from the beginning. The sets round out this perky optimist in her belief that one day she will invent something wonderful.
"Joy" unfortunately is playing for only eight weeks in a limited engagement. It is my belief that they will try to bring this show to Broadway in the near future.
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Angry Alan
Cut the last Two Minutes

By Robert M Massimi. ( Broadway Bob).Published about an hour ago • 3 min read

Robert M. Massimi.
"Angry Alan" at the Studio Seaview (formerly Tony Keiser Theatre), is a very interesting, modern take on society today. When Roger, (John Krasinski) becomes enthralled with a podcast show host named Angry Alan, he speaks to the audience in a very Homer Gentry, somewhat modern folksy way. He is a man who deals with life's ups and downs in an almost tongue and cheek manner.
Roger is divorced and has one child. The mostly one man play (son comes out in the last 5 minutes or so), is laid out in front of us. He brings out some excellent points about modern life; many in which I agreed with. He describes his childhood, adulthood, and fatherhood to us. He laments on how he would change things if he could do it all over again.
Roger almost seems to honor Alan's thoughts, he sends his videos out to his friends, his son, and even his ex wife. Alan at first is a support group for him, helping him through life. He even attends a Angry Alan convention where men like him are there to listen to Alan, and reason why men have been kicked to the curb.
Why this well acted play resonated with me was that many of the things that Roger says throughout are true. Whether it is at the work place, or in divorce proceedings, men have been getting shafted lately. Stripped of our manhood, Roger finds solace in Alan, who tells men to drive on and not be embarrassed to be an alpha male, or another kind of male.
Sam Gold has redeemed himself after the poorly directed "woke" version of "Romeo and Juliet". Here he has Roger upbeat, funny, aloof and transported to the modern age that has kicked him squarely in his ass. Some of his friends have been hurt by the "Me Too" movement; others too are divorced and are at the mercy of the courts as too when they may see their kids as well.
In his divorce Roger asks: "why do I pay for everything and I can't see my son?" He also ponders "why can my wife move further away and prohibit me from regular visits with mys son?". It becomes clear very fast that Roger is right about what he says: his job and past jobs have eliminated the talent for more diversity in the work force. No longer is it survival of the fittest, but more like, let's be fair about things.
In taking the plunge the second time, Roger is faced with competition from an art group that his new wife has joined. Now she is mixing almond milk in the kitchen, is a vegan and has real new Bohemian friends. Concerned that Roger will embarrass her, he is excluded from meeting them. She like his first wife, Roger pays for everything. He questions "when do I get a say?".
Writer Penelope Skinner for the most part writes a very productive piece. She shows the audience the male side for once and it is refreshing. She ruins the show, however with the reporter at the conference and really kills it in the last minute or two at the very end. Not to give away the end, she changes Rogers authentic personality, disgaurds his thoughts throughout the play to give the audience a cheap thriller at the end of it.
Skinner should have left Roger alone in his thought... they were how many men feel about society today. For Skinner to cheapen the plot was suicidal for an ending. With great acting by Krasinski, wonderful direction by Gold, she should have just let the show play out as is.
No Bull With Raging Robert, Stusio Seaview, New York City, Tony Awards, off Broadway, Broadway.
Critique
About the Creator

Robert M Massimi. ( Broadway Bob).
I have been writing on theater since 1982. A graduate from Manhattan College B.S. A member of Alpha Sigma Lambda, which recognizes excellence in both English and Science. I have produced 14 shows on and off Broadway. I've seen over700 shows
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Othello.
After bringing "Our Town" into the modern, director Kenny Leon who directs "Othello" at the Barrymore Theater, brings this classic into the future and it is awful.
RMM(BB
ByRobert M Massimi. ( Broadway Bob).3 months ago in Art

party crasher
you shall know a word by the company it keeps - John Firth Did you know that machine learning can identify words that are often linked metaphorically? If you’re a poet, you have already grasped the implication.
JC
ByJohn Cox23 days ago in Art

Revolutionizing Events in Dubai and MENA with Visual Storytelling
Storytelling is one of the oldest ways humans connect. From cave paintings to Instagram posts, it’s evolved in incredible ways, but the goal remains the same—to connect and inspire. Nowhere is this more important than in today’s events, especially in vibrant regions like Dubai, Abu Dhabi, and the MENA region.
MGR
ByMarker.ae Graphic Recording8 days ago in Art

Introducing the Vocal+ Summer Writing Series
Challenges on Vocal have always been about more than winning. We believe their value is in the process. They help create a spark, offer structure, and help writers stay connected to their craft.
J@V
ByJustin @ Vocal5 days ago in Resources
Written by Robert M Massimi. ( Broadway Bob).
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Nai-Ni Chen Dance Company at Alvin Ailey.

robert massimi
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May 19, 2025
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2 min read
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View on Medium
Alvin Ailey Dance Company has been around since 1958. The dance company has played around the world. It’s intentions at first was to bring black cultural experiences through dance.
About twenty years ago, through Citigroup established a permanent home on West 55th st in Manhattan and is called “Ailey-Citigroup Theater. The building not only has it’s main-stage, but many dance studios within the building. Alvin Ailey for years has been at the cutting edge for dance and entertainment by way of it’s music, dance and different genre of culture.
The Nai-Ni Chen Dance Company played here recently and was quite frankly not that good. The Chen Company, like the Ailey, is trying to make a name for itself as a formidable Dance Company. The Chen has been around for a lot less years than Ailey. The dancers, it’s choreography left a lot to be desired. Many times the dancers were off key, their movements had very noticeable flaws in the movements of the different pieces.
The projections were interesting toward the movements. While Chen himself said before the show that he wanted to produce Asian-American talent, many of the dancers were both white and black. In this performance there were many very good dancers. The problem mainly with the show is that many of the dancers could not dance and keep up with the good ones.
The choreography too was inconsistent; some numbers were great and others were either very simple or did not blend with the music nor the projections. This made the show feel slipshod, or at best, with little thinking involved in the show’s planning. The movements never went to deep and it never wowed the audience. Rather, it seemed like the entire Dance Company went through the motions as if they knew that the show was just bland and lifeless.
As a recital, this one misses the mark. Neither edgy, or relevant, the dance and auxiliary never makes us want to watch more of this Dance Company and it sends the audience looking at their watches.
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"Just In Time.
They Saved The Best For Last
"Just In Time" at Circle In The Square is the last Broadway show of the season and it turns out that it is the best. The story is about Bobby Darin (Johnathan Groff) who's real name was Walden Robert Cassotto from East Harlem. Darin, who thought he would be dead by 16 because of complications at birth, lived his life hard. Along the way he would meet a woman who shaped his life: Connie Francis (Gracie Lawrence) who I saw warming up The Rolling Stones last year with her brother. Francis loved Darin, however, her Sicilian father did not think marrying Darin was such a good idea. Darin would go on to marry Sandra Dee (Erika Henningsen) and divorce a few short years later.
What makes "Just In Time" such a great show is the chemistry between the actors, all of them. The staging by Derek McClane, the choreography by Shanon Lewis, the costumes by Catherine Zuber and direction by Alex Ambers are one of a kind on Broadway this year.Looking around the theater during the performance, all you saw was smiling faces... Broadway the way it used to be; no political statements, no wishy- washy DEI plot twists, just raw talent for two hours and twenty minutes!
Circle In The Square was turned into a cabaret theater for this behemoth of a musical. If you were fortunate to be by the stage, or unfortunate (Groff has a spitting and sweating problem), the interaction with the audience by Groff and many of the characters is intimate. Groff makes all of the audience feel like part of the show. He chats up many of the audience members, as does most of the cast.
With the Book by Leight and Oliver, it is based on the story by Ted Chapin; this is the must see musical of the year. The musical is upbeat, even though Darin had a very up and down personal life. From his tumultuous relationship With Sandy Dee, to his love-hate relationship with his brother-in-law Chris Maffia, Darin led his life the way he wanted to. He churned out movie after movie; song after song. Groff shows why he is a Tony contender again after winning the Tony last year for "Merrily We Roll Along" He sings with passion capturing the cadence, the movements and the personality of Darin perfectly.
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Robert Massimi.
CEO., Gimme Shelter Productions,LLCwww.gimmeshelterproductionsllc.com|NYC,NY
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Real Woman Have Curves
These Curves Can Move.

By Robert M Massimi. ( Broadway Bob).Published 6 minutes ago • 3 min read

Robert M Massime.
"Real Woman Have Curves" at The James Earl Jones Theatre has lots and lots of thrills. Set in Boule Heights, East Los Angeles; factory workers seam dresses sometimes twelve hours a day to support their families. Even though you would classify this company as a sweet shop, the ladies get on famously. In the first act this musical can do no wrong... the dancing, singing, choreography flows, and so do the jokes!
"Curves" at first reminded me of "In The Heights". The music and song were upbeat and uplifting. We never once get a feeling of struggle. The ladies seem happy to come into work everyday and the banter between them was raucous. Under the direction and choreography by Sergio Trujillo, the musical is almost "sit comish", and yet pleasant to watch. The story by Lisa Loomer and Nell Benjamin blends what all musicals should be: a story, good songs, good singing and good dancing. The story later on has its problems (we will get into that).
The music and lyrics by Joy Huerta and Benjamin Velez have the first act fly by with songs like: "Make It Work", "De Nada", and "Already Know You". It's boy meets girl, (Ana, Mauricio Mendoza; Henry, Zeus Mendoza). Ana is headed to Columbia University and Henry to Wesley University. Both characters are shy and socially awkward. They share a common interest in journalism and both will be majoring in the subject come the fall.
While the second act has even better songs and more laughs, the show teeters on the political to much. Most of the characters are in the country illegally and the fear on the INS raiding the business is ever present. Set in the Reagan years, the writing goes off kilter. Immigration was not a huge issue under the Reagan Administration. In fact, the US had more deportations under Clinton and Obama then Reagan.
The book should have stayed on the same course as the first act. In the first act the immigration issue was lite and not the crux of the show. Focusing on the music and song, "Real Woman" was a success; the audience was into the vibe of the show, the Latin style music, dance and jokes. By making it so political after the intermission, the show lost a lot of the audience. It made too many people take sides on the issue of illegal immigration; something that we go to the theater to escape from.
The show at all times had great costumes (Wilberth Gonzalez and Paloma Young). The sets by Arnulfo Maldonado and Lighting design by Natasha Katz were first rate. Katz hit the stage, for the most part with industrial lighting, she also mixed glam lighting to illuminate the scenes and back-beating the mood of the musical at all times. John Shivers on sound and Hana S. Kim,s video design too added to the depth of the show. Shivers delivered on the little things and the big things that enhanced the believability here.
"Real Woman Have Curves" delivers in a big way. Everything about it makes it a big Broadway show- right up there with all the better shows on "The Great White Way". The only problem, and it is a big one is the political aspect in the second act. Instead of towing the plot line, the writers bring in hateful speech, speech that was not warranted and even not believable. We get that immigrants have to work harder, that has been a fact since legal immigrants have been coming to the US. Yes, immigrants tend to get exploited, it happened to Italians, Germans, Jews and the Scots to name a few. Here, the writers make a case for illegals and in a sense, they lose the point of illegal.
Broadway Bob, Tony Awards, Drama Desk awards, New York City, Dead Outlaw.
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About the Creator

Robert M Massimi. ( Broadway Bob).
I have been writing on theater since 1982. A graduate from Manhattan College B.S. A member of Alpha Sigma Lambda, which recognizes excellence in both English and Science. I have produced 14 shows on and off Broadway. I've seen over700 shows
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The Jonathan Larson Project.
"The Johnathan Larson Project" just maybe the best off Broadway musical this year! The show clicks on all cylinders with fantastic singing, dancing and staging. The show covers the years and songs that Mr. Larson wrote. His life was cut short at 35 years old by an aortic aneurysm; he died one day before "Rent" opened on Broadway.
RMM(BB
ByRobert M Massimi. ( Broadway Bob).2 months ago in Beat

Maybe It's Me
When I was a teen in college, I was part of a garage band. Like any musical person who sang in the shower regularly, I wanted to be a singer - but I didn't have any range or voice, so I was relegated to instrumentals.
AM
ByAlison McBain4 days ago in Beat

Anger Revisited
I decided to take the title of a poem from my adolescent days for a lyrical rewrite... These two words served as a reminder of how I dealt with undesirable situations as a teenager. Regardless of all the help, advice and direction I received, I still had to learn for myself what life meant to me...
LW
ByLamar Wiggins4 days ago in Beat

“Spring Is Lovely This Time of Year”
For the following challenge (not one of my best, but still...): Day One: “War to be confirmed; major urban centers cleared; leaders declare martial law; chaos ensues.”
KD
ByKendall Defoe8 days ago in Horror
Written by Robert M Massimi. ( Broadway Bob).
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The Great War and The Great Gatsby.
Insight Into WW1.

By Robert M Massimi. ( Broadway Bob).Published about 8 hours ago • 3 min read

Robert M. Massimi.
"The Great War/The Great Gatsby" was an unusual but interesting body of work at the legendary Carnegie Hall. Narrated by John Monsky and backed by an orchestra as well as actors/singers, this two hour show ran the gambit of video, song and narration.
Directed by Michael Mayer, the St. Luke's Orchestra was very tight the entire evening. Capturing the mood of this storied theater that has acoustics that are second to none, the orchestrations, the conducting brought forth the undertones of the evening in deft style!
The evening is not just music and singing, however; the video and narration are just as important in the shows development. Monsky gives us an in depth history of this horrific war. He frames the show to "The Great Gatsby" which turns 100 years old this month. The plot here is Jay Gatsby as a soldier, he recounts his thoughts of the war; he tells about his friend who he lost and what the war meant to him.
The songs chosen for the performance were songs from the era... songs like "Pack Up Your Troubles", "Over There", "Ballin' the Jack" , "Keep The Home Fires Burning" and so many more. I thought with such a talented orchestra and a explosive acting- singing combo that there should have been more of it. At times I felt that Mr. Monsky made it more about him and his son than celebrating the courageous soldiers and the overwhelming talent that was onstage.
With such great songs, projection, a talented orchestra as well as actors, why not just make the show music and dancing with less talking? At times Monsky would ask children, grandchildren and relatives to stand up and be recognized. At first I thought this was clever; to recognize soldiers, relatives and such. In the second act this become a little to cumbersome. With only a hand full of songs we received more lecture in American history then singing. The celebration in victory should have been set to music. I realize Mr. Monsky is a historian from Yale, it was too much history and not enough music though.
The show is clearly at its best when the singers are acting, dancing to the notable numbers for the evening. Gracie McGraw, Diego Andres Rodriquez, Micaela Diamond and the rest of the company all have tremendous singing ranges. The gifted singers also are well choreographed by Emily Maltby. The vibe is clearly from yesteryear; the actors take us back in song and dance. The video brings out the melodramatic and sometimes ruins the mood of song. Maybe a split of the production between history lecture and video separated by music would have been a better answer. The first act which had more songs was easily the better of the two acts.
Carnegie Hall has had several shows like this as of recent. I saw "Pride and Prejudice" last year at "The Great Hall". An overwhelming amount of talent made that show one for the memory books. Last night too started out with the same feeling. It was when John Monsky commanded to much of the stage is when the audience grew a bit "antsy". If "Great War" stayed more on story-song versus lecture, this show too would have been a more memorable one.
A "Docu-show" like this one is a complicated one... what is the right amount of mix? What projection is just the right amount? Too much story? Where do we put the songs in the book? Choosing wisely is what will carry it over the top. Monsky had a lot of "skin in the game". He was overly passionate; he even went to visit the graves of fallen soldiers. Maybe he had too much "Skin" because his personal touch, his deep feelings about this subject matter clouded his judgement towards the production of "The Great War"
Essay
About the Creator

Robert M Massimi. ( Broadway Bob).
I have been writing on theater since 1982. A graduate from Manhattan College B.S. A member of Alpha Sigma Lambda, which recognizes excellence in both English and Science. I have produced 14 shows on and off Broadway. I've seen over700 shows
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Come From Away
"Come From Away" is a feel good story about what simple people can do when called upon to do big things. There is no better place to see a show like this than The Morristown Performing Arts Center. Comfortable as well as elegant, The Performing Arts Center has been putting on great travel theater as well as concerts for years!
RMM(BB
ByRobert M Massimi. ( Broadway Bob).23 days ago in Critique

Nuanced Shades
I literally stink at delving into the personal sides of myself where others can see the real me. I don't think that I can actually put pen to paper and let the monster out. Although I believe the liberation would be great for my creativity.
AD
ByAntoni De'Leon27 days ago in Critique

From Idea to Launch: What It Really Takes to Build a Powerful Online Presence
Launching a website isn't just about being online, it's about being seen, trusted, and remembered. Whether you’re starting a small business, a blog, or a full-blown eCommerce brand, understanding the core elements that bring a website to life is essential.
E
ByElio4 days ago in Critique

Weighing in on the AI Slop Problem
There have been some people perhaps waiting for this: I am about to weigh in on the AI Slop problem that is persisting throughout the realm of Vocal's subcategories. To me, there are three separate sections of the problem and though some are quite annoying, there is one issue with this form of content which is pernicious and vile. I will be addressing that one last in this article. Here's how it will go: I'll start with the most obvious issue, the second one will be a more mid-level problem (again annoying but can and is being dealt with) and the last one will be the most horrid of them all.
AK
ByAnnie Kapur3 days ago in Geeks
Written by Robert M Massimi. ( Broadway Bob).
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Reviewing "Blackbird" back in 2016 at the Belasco Theatre left me mixed on the play. While I thought Michelle Williams was good, Jeff Daniels did little in moving me to feel anything particular about his character. The two actors had little chemistry on stage and in the end it had fair to bad notices when it ran on "The Great White Way".
In the "Blackbird" that I saw at Studio 17, however, I had a new outlook on the writing by Scottsman David Harrower. This rendition of the play had me questioning whether Ray (Scott McCird) was contrite, or was he just playing Una (Emilie Rose Bak) and the audience as well.
"Blackbird" started out of the gate in fourth gear and hit top speed rather quickly. Mr. McCord was deft in how he portrayed his character. Like a good fisherman, he reeled us in and let us out constantly. His performance had me questioning his life, his motives and even the wonderment of his current being. We never get a handle on him, ever.
In Uma, Ms. Bak has us at times really feeling sorry for her. The scene in which she describes the night at the harborside motel was resonant indeed! Sitting close to the stage I was able to see the intensity in her eyes, the hatred towards this man. and yet feel the pain which has become her life.
Suzanne DiDonna's direction was superb. This show is dependent on the audience constantly making judgments on both characters. The who, the what, the why must always be in play if this show is to succeed. DiDonna's direction with the underlying "business" that the actors give lends itself to who is the person we most feel sorry for.
Two things other than the aforementioned add greatly to this play: the industrial lighting by Aiden Bezark and the costumes (no credit given). In the lighting Mr. Bezark turns up the light as if to say let's get the spots on the subject at hand. He fully washes the stage and the actors have nowhere to go and must face one another. In Ray's costume we get a man who is trying to survive in his life. While his tie, shirt, pants and shoes are ordinary, it is when he strips down to his t-shirt that we see a grey color rather than a bright white. His life, like his pleading are in the grey area; neither white nor black, but grey, I thought this was very apropos.
Between the acting and the direction, this "Blackbird" I believe is what David Harrower wanted from his writing. This is a play for debate; to be debated after the play is over. At different times in the play I felt sorry for each of them; at other times I thought that each character had an agenda. Never, however, was I positive about anything that the plot gave us. It took an off off Broadway house, rather than Broadway to make me fully appreciate this "Blackbird"
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Date: Fri, Apr 18, 2025 at 11:17 PM
Subject: blackbird
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The Picture of Dorian Grey.

robert massimi
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April 10, 2025
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“Dorian Grey” at The Music Box is a different kind of play. It features Sarah Snook (Succession) as a solo artist who is surrounded by several cameramen and a deft video designer(David Bergman).
Kip Williams who wrote and directed the Oscar Wilde piece brings a unique play; one I have never seen before. Snook tells the story of the life of Dorian Grey; his selling his soul, and the people that he has come in contact with during the course of the period written.
Snook plays many different roles and is superb in her role, my guess is she will win a Tony for her efforts. For nearly two hours Snook is perpetual motion. This role must be very taxing as she plays different roles, and constantly is changing costumes. Here intensity is overwhelming. Much like the days of The Ridiculous Theater Company, she spoofs the many characters she portrays. Her voice inflection, “the business” she gives is first rate!
Marg Horwell is scenic and costume design. On the scenic design, Horwell takes us to imaginary places;places of good and evil. The costumes are grandiose and visionary toward the time period of when Wilde wrote the piece.
Nick Schlieper backstops the play with time period whites and blues. At times the theater is dark, at other times he hits us with romantic lighting; glam lighting. The play works best when he gives the audience glam lighting, however. The dark theater is most comfortable, but, it made for several audience members around me fall asleep.
“Dorian Grey” is a must read before seeing this play. Having knowledge of the plot will give more pleasure to watching the performance. Going in cold will not help you grasp the show.
“Dorian Grey” is not for everyone. It is novel how it is put forth; it’s rapid fire approach can cause whiplash to some. Even the nexus of the show with the cameramen commanding most of the play is new and innovative. The traditional theatergoer may not like it.
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Last Call
Confusing

By Robert M Massimi. ( Broadway Bob).Published about 9 hours ago • 3 min read

Robert M. Massimi.
The problem with "Last Call" is not so much the writing, as it is in the plays direction (Gil Mehmart). The slow pace of this show makes for a long ninety minutes at New World Stages. Based on two great conductors and song writers, the play starts out fine but spirals quickly. What could have been a more enlightening play by Peter Danish, turned into dialogue that just wasn't interesting after awhile.
The plays premise is that two legends of classical music meet in a bar in Vienna, 1988. The two were competitive over the years and they have one last night together. What makes the play confusing is that the two men, Leonard Bernstein( Helen Schneider) and Herbert Von Karajan(Lucca Zucher) are woman playing these two legends. While Zucher is very good, Schneider is very poorly directed and weak. Still, the audience has to question why are two woman in these roles? Is it to bring the softer side to these men?
As the two artists discuss there lives in a very well appointed bar (scenic design by Christopher Barreca), they are served by Michael the bartender (Victor Peterson). Peterson has maybe the best scene of the afternoon when he belts out an opera number. Polite and inquisitive, Victor Peterson adds a lot of value to this performance as an actor and is very elegant in the way he turns the bar into a bathroom and back again. The two scenes throughout the entire show are just right; they give just the right amount blend to movement.
The costumes are well in fashion for this show... Bernstein is more flamboyant and Karajan is more simple but elegant. The two different costumes capture the personalities perfectly. Karajan is steadfast in his work; his music is everything too him. Bernstein smokes five packs of cigarettes a day; he pounds the booze and burns the candle at both ends. Victor Peterson's costume is versatile, he is able to deftly adjust his costume to become an operetta for a scene that is well done!
Michael Grundner's lighting is very effective. His cool blues and off whites give an excellent vibe to an otherwise weak show. His lighting choices also give a modern vibe and a hip feel. Like Grundner, Lindsay Jones sound design gives a clubbish atmosphere and brings a cool sense to the show. Jones and Grundner give a one-two punch as far as feel and site to the show.
Where the writing never gets on solid footing; he spends more time on things that are more historic than on the life of these two musicians. To much time is based on the war than the inner thoughts of the artists. Bernstein who was Jewish and from New York City and Karajan who was Austrian spend more time talking about why Karajan was a Nazi supporter. The play would have been better if it delved into both of their upbringings. Instead Danish broods on the war years and spends to much time on it.
In the direction, Mehmart never delivers any emotion; the two main characters are for the most part monotone. It is very rare when any of the characters get overly excited. It is clear that Bernstein is bothered by his cohorts Nazi roots and yet, he never so much as raises his voice. Also, what bothers each other about their counterpart is never really brought to a boil, only a simmer. This is why the show lingers and never gets provocative.
................................................................................................................
Broadway, Tony Awards, Aladdin, The Lion King, Harry Potter, Wicked, The Play That Goes Wrong, Hamilton, Hadestown, Little Shop of Horrors.
Humanity
About the Creator

Robert M Massimi. ( Broadway Bob).
I have been writing on theater since 1982. A graduate from Manhattan College B.S. A member of Alpha Sigma Lambda, which recognizes excellence in both English and Science. I have produced 14 shows on and off Broadway. I've seen over700 shows
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Othello.
After bringing "Our Town" into the modern, director Kenny Leon who directs "Othello" at the Barrymore Theater, brings this classic into the future and it is awful.
RMM(BB
ByRobert M Massimi. ( Broadway Bob).8 days ago in Art

Life, Death and Onions
The familiar blend of Victorian and modern architecture shifts my thoughts between past and present. Craning up at the glass tower where my wife lies in pain and uncertainty, I wonder what might come next in this continuing period drama. As I enter, the warm disinfectant air hits my nostrils and I drift back twenty years. My very first day as a hospital Porter …
SA
BySimon Aylward11 days ago in Confessions

Building Trust in Relationships: Steps You Can Take
As someone who's spent years navigating the intricate landscape of online interactions and relationship building, I've come to understand that trust isn't a given – it's meticulously constructed, brick by digital brick. It’s the cornerstone of any meaningful connection, whether it’s a budding friendship, a professional collaboration, or a romantic partnership. In the digital age, where authenticity can be obscured by curated profiles and fleeting interactions, building genuine trust requires a conscious and consistent effort. Let me share some of the key strategies I've found invaluable.
CP
ByCatherine Pass4 days ago in Confessions

Can Not Directly Replying To Vagueposts Be Normalized?
In a perfect world, direct communication would solve every problem in existence. People would be able to easily hash out their issues simply by having civil conversations instead of being forced to use more confrontational methods.
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BySnarky Lisa2 days ago in Humans
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After bringing "Our Town" into the modern, director Kenny Leon who directs "Othello" at the Barrymore Theater, brings this classic into the future and it is awful.
Set in 2018 with not much of a set, this baron performance is as much so with a weak, non existent set. At almost $1,000 dollars a ticket, you would think the show would be more indulgent and impressive.
This Broadway season like the last has been filled with big names from Hollywood and ticket prices have been through -the-roof. Many fringe theater critics have been shut out of these shows as I have been. I guess hitting over 100 million people a month worldwide is small to these shows! Unfortunately, I bought a ticket to this show as I did with the recent George Clooney's "Goodnight".
The two stars of this production of "Othello" are just not really good in their roles. Denzel Washington as Othello is very mundane and insipid. I'm not sure if Washington was directed like this or if he just knows how badly the show is. Jake Gyllenhaal as Lago speaks so rapidly that it is difficult to pick up what he is saying and digest what he is saying and where it goes to the plot line.
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Come From Away
The Canadians to The Rescue.

By Robert M Massimi. ( Broadway Bob).Published about 5 hours ago • 3 min read

Robert M. Massimi.
"Come From Away" is a feel good story about what simple people can do when called upon to do big things. There is no better place to see a show like this than The Morristown Performing Arts Center. Comfortable as well as elegant, The Performing Arts Center has been putting on great travel theater as well as concerts for years!
With simple staging by Beowulf Boritt, "Come From Away" is able to just give the audience what is on stage and nothing more. The story is so good (book, music and lyrics by Irene Sankoff and David Hein) that a simple staging brings forth the story and the actors to the front and center.
This remarkable true story about everyday people with a population of seven thousand, doubled in size when planes were forced to land in Gander, Newfoundland, Canada after September 11, 2001. It is here that this small town for five days did there best to feed, cloth and shelter people from all over the world who were forced to land in this remote place of no importance in the world.
In the first two songs: "Welcome to the Rock" and "38 Planes", it gives the audience the basis for the plot. The rock in question is the remote place in Canada and the 38 planes is just how many landed that day. As when I saw this Tony Award Winning Best Musical, I never understood why Howell Binkley gave the opening number yellow and orange lights during the opening song. I looked like, and reminded me of an Island musical rather than a northern town in Canada. Binkley hit this color combination several more times during the show and it didn't sit well to the eye. When he used blues, purples and reds, the lighting worked better.
Under Christopher Ashley's direction, "Come From Away" is one of the better musicals that has ever graced Broadway or anywhere else. It is a simple show, but a fun and educational one. All of the towns people pitch in to make their stay as comfortable as possible. The townspeople put a bus strike on hold to help the people who have now occupied their towns. Even though the show is light hearted and funny at times, the crux of the show is serious.
All the songs resonate throughout the hour-thirty minutes. Some songs really hit home; songs like: "Welcome to the Rock"; "38 Planes"; "I Am Here"; "Prayer"; "Me and The Sky"; "Stop the World"; and "Something's Missing". It is these songs that bring the reality to the show. In between jokes and the look at common folks, it is these songs that round out the seriousness of the terror attacks on both New York City and Washington DC on that awful day.
As the days go bye tensions mount, people fall in love; people fall out of love, but mostly, people from far and away want to survive and get back too their lives again. The people on the 38 planes don't know how to react to the new world that they now face. The Muslims on the island are now looked at differently, no one knows if they are terrorists or not. People are eager to get home and be with their families.
The acting in this show is superb. Many of the actors play different roles during the performance. Notable standouts are: John Anker Bow, Andrew Hendrick, Kristen Litzenberg, Kathleen Cameron, Erich Schroeder and Andre Williams.
As no good deed goes unpunished, when the public found out what these great people of Gander did for the world, donations came pouring into this town. "Come From Away" is an amazing story about amazing people in difficult times. Whether on Broadway or The Morristown Performing Arts Center, this musical is first rate all around.
Tony Award, New York City, Come From Away.
Music
About the Creator

Robert M Massimi. ( Broadway Bob).
I have been writing on theater since 1982. A graduate from Manhattan College B.S. A member of Alpha Sigma Lambda, which recognizes excellence in both English and Science. I have produced 14 shows on and off Broadway. I've seen over700 shows
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Mrs Loman
Mrs. Loman, which has a running time of 90 minutes is very good for the first 35 minutes. Writer Barbra Cassidy starts the play out with little snippets of the Loman family right after the death of father, Willy Loman. The shows first scene has Linda Loman (Monique Vukovic), Biff (Matt McGlade), Happy (Hartley Parker), Charlie, Willy's long time friend and confident. The fifth person, Bernard(Joe Gregori), who was a small figure in "Death of A Salesman" was on to bigger and better things as a lawyer who argued before the Supreme Court, here, he is a big part of the Loman's life in Brooklyn, N.Y..
RMM(BB
ByRobert M Massimi. ( Broadway Bob).about a month ago in Critique

Picking the Right Moment to Start
You’ve likely heard some of this conventional writing advice before: Start “in media res” A reader can tolerate proportionally as much exposition as the plot has achieved momentum – Stephen King (I think) Begin in the moment and feed the reader details as the plot progresses
SAR
ByStephen A. Roddewig6 days ago in Critique

“What about Nicole?”
My graduate thesis is a memoir. The epigraph reads, "For me and you." It's the story and backstory of my marriage and divorce and its aftermath, offered as raw data, in case my kids want to analyze it some day.
NF
ByNicky Frankly3 days ago in Critique

Life in paradise
I wake up on our anniversary to see those eyes, his beautiful blue eyes. And the way the sun glistens off his ebony skin, it could stop anyone's heart.
TR
ByTressa Rose7 days ago in Fiction
Written by Robert M Massimi. ( Broadway Bob).
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After bring "OurTown" into the modern, director Kenny Leon who directs "Othello" at the Barrymore Theater, brings this classic into the future and it is awful.
Set in 2018 with not much of a set, this baron performance is as much so with a weak, non existent set. At almost $1,000 dollars a ticket, you would think the show would be more indulgent and impressive.
This Broadway season like the last has been filled with big names from Hollywood and ticket prices have been through -the-roof. Many fringe theater critics have been shut out of these shows as I have been. I guess hitting over 100 million people a month worldwide is small to these shows! Unfortunately, I bought a ticket to this show as I did with the recent George Clooney's "Goodnight".
The two stars of this production of "Othello" are just not really good in their roles. Denzel Washington as Othello is very mundane and insipid. I'm not sure if Washington was directed like this or if he just knows how badly the show is. Jake Gyllenhaal as Lago speaks so rapidly that it is difficult to pick up what he is saying and digest what he is saying and where it goes to the plot line.
As Cassio, Andrew Burnap is sufficient; Molly Osborne as Desdemona and Andrew Lopez as Roderigo are awful in their roles in the supporting cast. But here lies the question: are the actors bad or is it the direction? Like "Our Town", many actors were miscast and slow in their delivery onstage. This seems to be a pattern under Kenny Leon's direction. The last three shows that Leon has directed ("Othello, "Our Town" and "Purly Victorious") have all bombed. All three shows were critically and audience panned for slowness and lack of depth.
Audience members had to check their phones before entering the theater which to me is a good thing. For this production, one wonders if it was due to the slowness that may have enticed a viewer to go on and pass the time out of boredom. The audience around me kept asking during the show what is going on? At big ticket prices and big stars this season, it almost seems that the theater goer is more into seeing stars than seeing the actual show. This newer, more trendy audience is all about seeing the right, trendy shows than seeing theater for theater itself.
If ticket prices remain this high for shows, much of the loyal theater goers will be priced out of shows and it will leave a void for the avid theater lover. Like "Goodnight", lousy shows leave a stain on Broadway. In "Goodnight", Clooney was thin and one dimensional. In "Othello", both Gyllenhaal and Washington disappoint in epic proportions. The set disappoints, the direction disappoints as well. To set this classic into the future goes againts the current of classic theater. Kenny Leon has bent this classic towars how he sees this classic piece as well as how he sees the world. Like "Our Town", Leon takes a great work and changes the play on how he would like to see the town and audiences overwhelmingly reject it.
Between the absorbent ticket prices and directors changing the underlying messages to fit their own narrative, Broadway maybe in a heap of trouble. They may lose the classic theater lover all together. It is one thing to produce a modern "Ghosts" or "Dolls House" in the modern with some depth to them, it is another to produce a modern "Othello" that has no whereabouts to it. The play gets lost 10 minutes into it and never finds its way back.
--
Robert Massimi.
CEO., Gimme Shelter Productions,LLCwww.gimmeshelterproductionsllc.com|NYC,NY
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The Jonathan Larson Project.
Off Broadway Magic.

By Robert M Massimi. ( Broadway Bob).Published about 6 hours ago • 3 min read

Robert M Massimi.
"The Johnathan Larson Project" just maybe the best off Broadway musical this year! The show clicks on all cylinders with fantastic singing, dancing and staging. The show covers the years and songs that Mr. Larson wrote. His life was cut short at 35 years old by an aortic aneurysm; he died one day before "Rent" opened on Broadway.
Larson would write two shows of note: "Tick Tick...Boom" and "Rent". The later would grant him a Pulitzer Prize. As a struggling waiter, Larson never gave up his dream as a song writer. "The Project" celebrates his many songs, from Standalone's, "Superbia";"Rent", as well as Pop and Cabaret tunes.
Throughout the show, Alex Basco Koch's projection design takes us back to the 80's and 90's showing images of New York City. Some of these pertained to the life of Mr. Larson, some were random photos of the city. The show also provides letters from Johnathan to his friends which gives an insight into his thoughts and personality.
The show is 90 minutes long without an intermission. Set solely to his music, the five actors: Adam Chandler Berat,Taylor Iman Jones, Lauren Marcus, Andy Mientus and Jason Tam bring their Broadway creds to the Orpheum Theatre and each actor is sensational. The range of each singer is first rate. The choreography (Byron Easley) compliments the writing, the music as well as the singers; it adds another pithy dimension, giving the show a one-two punch.
As the songs go by, it is the scenic design by Michael Schweikardt, the costume design by Tracy Christensen and the lighting by Shannon Clarke that all add to this special musical. In a economical stage, Schweikardt has the actors moving about on a split level stage. This allows the singers to move about, which keeps the show interesting. The costumes capture the time period perfectly. The audience is treated to a time warp of yesteryear fashion. The lighting is at times carnival like. Clarke hits the stage with romantic, glam as well as industrial lighting at various points throughout the show. This skillful technique brings the musical mood to the forefront. As the songs differ, the lighting does as well and it creates more of a well scripted concert rather than a musical.
Opening with "Greene Street", this warm song about Soho is uplifting. Another 1980's song: "One of These Days" is a dystopian song from "Superbia". "Break Out the Booze" was a humorous rendition as was "Casual Sex, Pizza and Beer". "Out of My Dreams" was a soulful song and one of the few Pop songs (Larson was hoping for commercial success with this song).
"Rent" and "Tick Tick" touched on social political issues of both the 1980's as well as the 90's. "The Vision Thing", "White Male World","The Truth is a Lie" as well as "Iron Mike" were political. From politicians to AIDS, Larson brought to light in his songs the things that bothered him politically. The songs and staging were thankfully not overt in there presentation, rather they just lightly broached on these issues that were prevalent back then.
Jennifer Ashley Tepper who conceived this musical has designed a winner. From the actors to the staging, "The Johnathan Larson Project" is a fun show, and it also educates the audience about just how talented he was. We also get an insight into his life when he wasn't writing great songs.
..............................................................................................................
Johnathan Larson, off Broadway, Obie Awards, Tony Awards, Tick Tick... Boom, Rent, Broadway, Tony Awards, Pulitzer Prize. Lion King, Aladdin, Harry Potter, The Promise, New York City, Top of The Village Gate, Greenwich Street, Soho, Greenwich Village.
art
About the Creator

Robert M Massimi. ( Broadway Bob).
I have been writing on theater since 1982. A graduate from Manhattan College B.S. A member of Alpha Sigma Lambda, which recognizes excellence in both English and Science. I have produced 14 shows on and off Broadway. I've seen over700 shows
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A Brooklyn Dream
Immersive theater has become very popular when "Sleep No More" ran at the McKittrich for 14 years. Now playing at Rector St in the Wall St area, "Life and Trust". Both of the aforementioned are big productions. At "A Brooklyn Dream", the venue is small, but for the most part comfortable.
RMM(BB
ByRobert M Massimi. ( Broadway Bob).11 days ago in Beat

When I see you in my dreams
When I saw him the second time, it was quiet, save for the regulars’ idle chat, in hushed whispers, excitement lacing their words, bouncing in jittery waves. Whether it was from their conversation or the anticipated performance, I didn’t know. The small stage in front was still and dark.
MI
ByMelissa Ingoldsbyabout 21 hours ago in Beat

Siren's "Arrow" Strikes Straight to the Heart
With their latest single “Arrow”, Siren delivers a love story wrapped in the rich, melodic rock textures they’ve become known for.
WM
ByWhitney Millerabout an hour ago in Beat

The Station
My eyes are drawn to the octogenarian sitting alone upon a bench in silence, while the world moves around him. There is a serenity emanating from within, surrounding him in a halo. I am mesmerized but have no idea why.
J
ByJBaz3 days ago in Fiction
Written by Robert M Massimi. ( Broadway Bob).
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Ghosts
Searching the Past.

By Robert M Massimi. ( Broadway Bob).Published about 5 hours ago • 3 min read

Robert M Massimi
Ibsen's "Ghosts" at the Newhouse Theater at Lincoln Center is a modern piece with very good acting. The direction by Jack O'Brien is at a slow pace for most of the one hour and forty five minutes. Although this show should have had an intermission, the play for the most part locks in tightly.
Staying mostly to the original story, Mark O'Rowe adds a different take with the modern and it seems to work well for the most part. The costumes by Jess Goldstein blend with the script. In the modern, many costume designs are very overt, here, they are neither garish nor boring. Goldstein gives us more interesting than anything else. Japhy Weideman's lighting draws a wider swath in that we get big sides and broad overheads. The lighting in this play draw the back-beat of movement that is before us and is well done.
Ibsen has always questioned many things in his writing style. Here, Pastor Manders (Billy Crudup) and Helena Alving (Lily Rabe) banter about God, society and the people who live in it. Ms. Alving is a slow boil here; at first we don't know why, her language at the beginning is tepid, until...
The pastor is eager to do please. He is charismatic and faithful to the Dogma of The Word of God. He is also informative to the ways of the world. As he builds his orphanage, his concern is more how it looks on its face than the good that it will do for children. He also would rather avoid conflict than face it head on; he goes along to get along in society. What is popular and less confrontational is where the pastor sets his focus.
The dialogue between the pastor and Helena can be tense at times. This maybe due to sexual tension; tension with the social status of both. Watching these two great actors interact makes "Ghosts" in of itself worth the price of admission. Regina (Ella Beatty) and Oswald (Levon Hawke) too are very deft in how they interact. The daughter of an embattled Engstrand (Hamish Linklater), she accepts her maid duties more because of her crush on Oswald. Regina is constantly torn between leaving the Norwegian estate and dedicating her life towards the family.
In one setting, director O'Brien is limited in how the actors move about, and yet they all move and speak systematically, with great charisma. It is the preciseness with the entire play that makes it work so well. Each character has a secret, secrets that will be exposed as the play goes on. The way that Ibsen and the direction lets each one out slowly and at the right time makes this classic timeless.
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As the Broadway spring season gets underway, next up is Dorian Grey and Glengary Glenn Ross. Shortly after these two shows will be Boop and Smash. The steady flow from there will all meet the Tony deadline for best play/musical. The two shows that are really crimping the pocket books of audiences are: Othello and Goodnight, and Good Luck. Tickets for these two shows are through the roof! Othello is rumored to be charging &1,000. a ticket, and the seats are in the middle of the orchestra, not even close to the stage! It is rumored that the mezzanine seats are going for $500. and up! This is for a show that I thought was awful. While "Goodnight" is not as bad, it is still very costly. Rear mezzanine seats are going for $250. Orchestra seating can be as high as $750 per ticket.
"Ghosts", Billy Crudup, "Othello", Denzel Washington, Jake Gylennhal, George Clooney, Broadway, Tony Awards.
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About the Creator

Robert M Massimi. ( Broadway Bob).
I have been writing on theater since 1982. A graduate from Manhattan College B.S. A member of Alpha Sigma Lambda, which recognizes excellence in both English and Science. I have produced 14 shows on and off Broadway. I've seen over700 shows
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