Now that summer’s here and travelers are flocking to New York City to check out the best shows on Broadway and Off Broadway, here’s a handy guide to spending your ticket dollars wisely and avoiding suffering the slings and arrows of mediocre theater.
I’ve already reviewed Plaza Suite (three stars) and The Skin of Our Teeth (four stars, but closed this past weekend) in these pages, so here’s a brief summary of other plays still in theaters. Stayed tuned for an overview of musicals currently running in theaters.
What To See
American Buffalo ****/*****
A veritable actor’s workshop, this story about three small-time criminals planning a heist, American Buffalo brings out the best in its stars. Terrific performances by Laurence Fishburne and Darren Criss are dwarfed by Sam Rockwell’s sure-to-be award winning role as Teach in this revival of David Mamet’s wonderful story about nobodies doing nothing important. Scott Pask’s set is so detailed in its organized pawn shop clutter that you want to walk onto the set for a little browsing at intermission. Through July 10 at Circle in the Square Theatre.
The Minutes *****/***** (five stars)
Tracy Letts’ piquant satire of American civic government with far more sting than his Tony winning August, Osage County, is a study of the banality of midwestern values. This satirical sendup of small town small mindedness devolves into a cynical indictment of the grotesque confabulations upon which the mythology of American Patriotism is based. Through July 24 at Studio 54.
Hangmen ****/***** (four stars)
Martin McDonagh’s dark account of a petty conflict between England’s last two executioners, on the heels of the repeal of capital punishment in 1964. Alfie Allen (“Game of Thrones”) plays a delightfully shifty character who gets caught up in the middle, as a group of pub regulars argue over which hangman had more kills and whether war criminals counted. Though super-titles would’ve helped those who couldn’t hear or understand the northern English dialect, it’s an energetic hoot. Through June 18 at the Golden Theatre. TO SEE
Take Me Out ****/***** (four stars)
Admittedly, many show up for the extensive male frontal nudity (especially hunky Tony nominee Jesse Williams from TV’s “Gray’s Anatomy.”) But there really are far too many gratuitous shower scenes—and be warned they’ll make you lock your phone in one of those devices to keep you from snapping photos during the show. The real reason to see Richard Greenberg’s now somewhat archaic study of a star baseball player coming out of the closet is Williams’ performance opposite Jesse Tyler Ferguson’s beautifully sympathetic turn as nebbish unexpectedly caught in the middle of a cultural “moment.” Through June 11 at 2nd Stage’s Hayes Theatre. TO SEE
A Case For the Existence of God ****/***** (four stars)
An intriguing new two-hander by Samuel Hunter and directed by David Cromer (Tony Winner, The Band’s Visit), two very different men (one white, working class and a bit dense; the other, intelligent, gay and black) sit in a small office cubicle isolated and dwarfed by the empty space of the stage around them and discuss the hardships each are facing over custody issues of their toddler daughters who attend the same daycare in their small town in . . . Idaho?! While their growing friendship that builds through successive meetings in this same, unchanging cubicle are compelling in and of themselves, somehow this small microcosm of middle America outside the walls plays its own, looming role. Through June 5 at the Signature Theatre (off Broadway). TO SEE
What to Skip
POTUS **/***** (two stars)
Considering the All-Star lineup, from director Susan Stroman to a cast of top notch comic actors, POTUS (subtitled: “Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive”) should be the funniest play Broadway has seen in decades. Instead, every word of Selina Filinger’s feeble dialog is SHOUTED by all the actors (except Lea DeLaria who delivers the only grounded, and consequently actually funny performance) in an attempt to make the gags land harder. The play relies on audiences gasping and giggling over the repeated (and tiresome) use of the “C” word, though the only C word that actually applies is “corny.” Rachel Dratch’s role garnered her a Tony nomination, but if you saw her on SNL, you’ve seen this character already. And if you’re sitting too close, Beowulf Boritt’s forced perspective set will leave you dizzy, at the very least. This one splits the audience: some love it, some hate it. You’ve been warned. Through August 14 at the Shubert Theatre. NOT TO SEE (unless you’re an easy target for cheap laughs).
Macbeth **/***** (two stars)
Director Sam Gold takes one of Shakespeare’s most beloved plays and drives it straight in the wall, despite starting out with ringers Daniel Craig and Ruth Negga on his team. His minimalist approach does nothing to enhance the story, instead it detracts. What should have been a production for the ages is instead likely to permanently drive newcomers away from the Bard. The most audiences can say as they exit is that they saw James Bond on stage. Through July 10 at the Longacre Theatre. NOT TO SEE!
How I Learned to Drive ***/***** (three stars)
Yet another revival (in its Broadway debut, 25 years after its initial run off-Broadway) that doesn’t very well stand the test of time. The story of a young woman’s sexual abuse at the hands of a soft-spoken, kindly uncle throughout her adolescence and teen years, it’s impossible to feel the sympathy ascribed to the perpetrator in the wake of the MeToo movement. Despite Paula Vogel’s well written play and fine performances by Mary Louise Parker and David Morse who originated the roles, it feels more like a museum piece than a lively work of intrigue. Through June 12 at the Manhattan Theatre Club. NOT TO SEE
If musicals are more your speed, keep an eye on this space. I’ll have a rundown of the Broadway musicals that are worth your hard-earned dollars within the next few days. Stay tuned!
