My Blog-iversary!

Look, Ma.  I'm 6!

It was six years ago today that I made my first blog post with a review of Pig Farm at the Roundabout's off-Broadway house, the Laura Pels Theatre.

Since then I've posted 319 times, a few of which were shameless self-promotion, along with some ticket discount offers.

To the press reps who have hooked me up with seats, I thank you and look forward to reviewing the shows you represent.

To my readers (both of you), thanks for staying with me and keeping me on my toes.

Tony Award Winners, 2012

2012 Tony Award Winners
presented June 10, 2012



Well, let's see how I did, shall we?  My votes are bolded.  The actual winners are underlined.



Best Play

Clybourne Park                      Author: Bruce Norris
Other Desert Cities               Author: Jon Robin Baitz
Peter and the Starcatcher    Author: Rick Elice
Venus in Fur                           Author: David Ives

Apparently, a Pulitzer Prize grants an edge.

Best Musical

Leap of Faith
Newsies
Nice Work If You Can Get It
Once

Without a doubt, Once is the best new musical I've seen in several years.  Bringing home 8 of their 10 nominations confirms my opinion.

Best Book of a Musical

Lysistrata Jones                      Douglas Carter Beane
Newsies                                   Harvey Fierstein
Nice Work If You Can Get It    Joe DiPietro
Once                                         Enda Walsh

See above.


Best Original Score (Music and/or Lyrics) Written for the Theatre

Bonnie & Clyde                Music: Frank Wildhorn
                                                    Lyrics: Don Black

Newsies                                     Music:  Alan Menken
                                                     Lyrics:  Jack Feldman

One Man, Two Guvnors             Music & Lyrics: Grant Olding

Peter and the Starcatcher      Music:  Wayne Barker
                                                      Lyrics:  Rick Elice

Mr. Menken brings home the prize for his 4th nomination.


Best Revival of a Play

Arthur Miller's Death of a Salesman
Gore Vidal's The Best Man
Master Class
Wit

Best Revival of a Musical

Evita
Follies
The Gershwins' Porgy and Bess
Jesus Christ Superstar


I was a bit surprised by this one.
 
Best Performance by an Actor in a Leading Role in a Play

James Corden                           One Man, Two Guvnors
Philip Seymour Hoffman           Arthur Miller's Death of a Salesman
James Earl Jones                     Gore Vidal's The Best Man
Frank Langella                           Man and Boy
John Lithgow                            The Columnist

Best Performance by an Actress in a Leading Role in a Play

Nina Arianda                           Venus in Fur
Tracie Bennett                          End of the Rainbow
Stockard Channing                  Other Desert Cities
Linda Lavin                               The Lyons
Cynthia Nixon                            Wit

I like it when I'm right. :-)

Best Performance by an Actor in a Leading Role in a Musical

Danny Burstein                          Follies
Jeremy Jordan                          Newsies
Steve Kazee                             Once 
Norm Lewis                               The Gershwins' Porgy and Bess
Ron Raines                                Follies

Yes.

Best Performance by an Actress in a Leading Role in a Musical

Jan Maxwell                               Follies
Audra McDonald                      The Gershwins' Porgy and Bess
Cristin Milioti                              Once
Kelli O'Hara                                Nice Work If You Can Get It
Laura Osnes                              Bonnie & Clyde

As I suspected.

Best Performance by an Actor in a Featured Role in a Play

Christian Borle                          Peter and the Starcatcher
Michael Cumpsty                      End of the Rainbow
Tom Edden                                One Man, Two Guvnors
Andrew Garfield                        Arthur Miller's Death of a Salesman
Jeremy Shamos                        Clybourne Park

Best Performance by an Actress in a Featured Role in a Play

Linda Emond                             Arthur Miller's Death of a Salesman
Spencer Kayden                       Don't Dress for Dinner
Celia Keenan-Bolger              Peter and the Starcatcher
Judith Light                                 Other Desert Cities
Condola Rashad                        Stick Fly

Best Performance by an Actor in a Featured Role in a Musical

Phillip Boykin                              The Gershwins' Porgy and Bess
Michael Cerveris                        Evita
David Alan Grier                         The Gershwins' Porgy and Bess
Michael McGrath                         Nice Work If You Can Get It
Josh Young                                  Jesus Christ Superstar

This was a bit of surprise.

Best Performance by an Actress in a Featured Role in a Musical

Elizabeth A. Davis                      Once
Jayne Houdyshell                        Follies
Judy Kaye                                    Nice Work If You Can Get It
Jessie Mueller                           On a Clear Day You Can See Forever
Da'Vine Joy Randolph               Ghost the Musical

As was this.

Best Direction of a Play

Nicholas Hytner                            One Man, Two Guvnors
Pam MacKinnon                          Clybourne Park
Mike Nichols                               Arthur Miller's Death of a Salesman
Roger Rees and Alex Timbers    Peter and the Starcatcher

Best Direction of a Musical

Jeff Calhoun                                 Newsies
Kathleen Marshall                        Nice Work If You Can Get It
Diane Paulus                               The Gershwins' Porgy and Bess
John Tiffany                               Once

Oh, yes.

Best Choreography

Rob Ashford                                 Evita
Christopher Gattelli                      Newsies
Steven Hoggett                            Once
Kathleen Marshall                         Nice Work If You Can Get It

Mr. Gattelli is making quite the name for himself - congratulations!

Looks like I called 7 correctly.

2012 Tony Nominations

2012 Tony Award Nominations

As the annual awards ceremony approaches, here's my take on what should happen on Sunday, though that may not be the case.  My choices are in bold italics.


 Best Play

Clybourne Park                      Author: Bruce Norris
Other Desert Cities               Author: Jon Robin Baitz
Peter and the Starcatcher    Author: Rick Elice
Venus in Fur                           Author: David Ives

 I liked ODC, PATS and VIF equally, but feel that ODC was the best constructed of the three.

Best Musical

Leap of Faith
Newsies
Nice Work If You Can Get It
Once

Without a doubt, Once is the best new musical I've seen in several years.  Disney will give it a strong run for its money with its very popular Newsies, but Once is the superior musical by far.

Best Book of a Musical

Lysistrata Jones                      Douglas Carter Beane
Newsies                                   Harvey Fierstein
Nice Work If You Can Get It    Joe DiPietro
Once                                         Enda Walsh

Once again, beautifully adapted from the 2006 film by Enda Walsh.

Best Original Score (Music and/or Lyrics) Written for the Theatre

Bonnie & Clyde                Music: Frank Wildhorn
                                                    Lyrics: Don Black

Newsies                                     Music:  Alan Menken
                                                     Lyrics:  Jack Feldman

One Man, Two Guvnors             Music & Lyrics: Grant Olding

Peter and the Starcatcher      Music:  Wayne Barker
                                                      Lyrics:  Rick Elice

Since this category requires that the music and lyrics must be written for the stage production, Once is ineligible.  That's one reason two of the nominees are actually plays, not musicals.  Consider, too, Bonnie & Clyde got a nod here?  Not the stellar year for  musicals as we've seen in years past.  For that reason, I'm pulling for Peter and the Starcatcher.

Best Revival of a Play

Arthur Miller's Death of a Salesman
Gore Vidal's The Best Man
Master Class
Wit

Purely on the strength of its pedigree, Death of a Salesman is the winner here.

Best Revival of a Musical

Evita
Follies
The Gershwins' Porgy and Bess
Jesus Christ Superstar


Follies will struggle because it has closed, and Evita  is selling really well with Ricky Martin, but my vote goes to Follies.
 
Best Performance by an Actor in a Leading Role in a Play

James Corden                           One Man, Two Guvnors
Philip Seymour Hoffman           Arthur Miller's Death of a Salesman
James Earl Jones                     Gore Vidal's The Best Man
Frank Langella                           Man and Boy
John Lithgow                            The Columnist

It's a very tight race for this category and though I'm sure Mr. Jones is excellent, Mr. Lithgow should be taking the award home this year.



Best Performance by an Actress in a Leading Role in a Play
Nina Arianda                            Venus in Fur
Tracie Bennett                          End of the Rainbow
Stockard Channing                  Other Desert Cities
Linda Lavin                               The Lyons
Cynthia Nixon                            Wit


Another tight race with superb performances, I'm pulling for Nina Arianda in her breakout role.

Best Performance by an Actor in a Leading Role in a Musical

Danny Burstein                          Follies
Jeremy Jordan                          Newsies
Steve Kazee                             OnceNorm Lewis                               The Gershwins' Porgy and Bess
Ron Raines                                Follies

Mr. Kazee's portrayal  of the heartbroken Irish busker wins.

Best Performance by an Actress in a Leading Role in a Musical

Jan Maxwell                               Follies
Audra McDonald                      The Gershwins' Porgy and Bess
Cristin Milioti                              Once
Kelli O'Hara                                Nice Work If You Can Get It
Laura Osnes                              Bonnie & Clyde

The smart money is probably on Audra to bring home her 5th, but for me, the prize goes to Jan Maxwell's bitter turn as Phyllis.

Best Performance by an Actor in a Featured Role in a Play
Christian Borle                          Peter and the Starcatcher
Michael Cumpsty                      End of the Rainbow
Tom Edden                                One Man, Two Guvnors
Andrew Garfield                        Arthur Miller's Death of a Salesman
Jeremy Shamos                        Clybourne Park

Though Mr. Cumpsty sailed far above the two-dimensional writing in End of the Rainbow, the prize goes to Mr. Borle for his delicious Black Stache in Peter and the Starcatcher.


Best Performance by an Actress in a Featured Role in a Play
Linda Emond                             Arthur Miller's Death of a Salesman
Spencer Kayden                       Don't Dress for Dinner
Celia Keenan-Bolger                Peter and the Starcatcher
Judith Light                                 Other Desert Cities
Condola Rashad                        Stick Fly

It's another tight contest here, and Ms. Rashad makes an impressive debut, but my money is on Celia Keenan-Bolger.

Best Performance by an Actor in a Featured Role in a Musical

Phillip Boykin                              The Gershwins' Porgy and Bess
Michael Cerveris                        Evita
David Alan Grier                         The Gershwins' Porgy and Bess
Michael McGrath                         Nice Work If You Can Get It
Josh Young                                  Jesus Christ Superstar

I didn't find many redeeming qualities in Porgy and Bess, but Mr. Grier's performance provided excellent entertainment, even though he seemed to be in a different show than the rest of the cast.

Best Performance by an Actress in a Featured Role in a Musical

Elizabeth A. Davis                      Once
Jayne Houdyshell                        Follies
Judy Kaye                                    Nice Work If You Can Get It
Jessie Mueller                             On a Clear Day You Can See Forever
Da'Vine Joy Randolph               Ghost the Musical

The show was a red hot mess, but Ms. Mueller managed a little style despite having to navigate the most wooden of Harry Connick, Jrs.

Best Direction of a Play

Nicholas Hytner                            One Man, Two Guvnors
Pam MacKinnon                          Clybourne Park
Mike Nichols                               Arthur Miller's Death of a Salesman
Roger Rees and Alex Timbers    Peter and the Starcatcher


Mr. Nichols made directorial choices that might be described as restoration, wisely resurrecting both the original set design and original music.  He then maximizes the benefit of a truly superb play.

Best Direction of a Musical

Jeff Calhoun                                 Newsies
Kathleen Marshall                        Nice Work If You Can Get It
Diane Paulus                               The Gershwins' Porgy and Bess
John Tiffany                               Once

I'm back to my obvious favorite Once here.

Best Choreography

 Rob Ashford                                 Evita
Christopher Gattelli                      Newsies
Steven Hoggett                            Once
Kathleen Marshall                         Nice Work If You Can Get It

See above.

There are many more award categories.  You can find them here.

I'll publish a full list of the actual winners next week.

Go see a play!

Rapture, Blister, Burn

"Rapture, Blister, Burn" at Playwrights Horizons, May 26, 2012

Pulitzer prize nominee Gina Gionfriddo returns Off-Broadway with a sharp look at feminism, presented in a semi-scholarly love triangle.  Catherine (Amy Brennerman) has returned to take care of her mother (Beth Dixon) after a heart attack, also in the same town where her college ex-boyfriend Don (Lee Tergesen) now serves as a dean at a local liberal arts college and is married to Catherine's college roommate Gwen (Kelley Overbey). 

In college, Catherine chose a life of academia and has published several high profile books on popular culture and the role of women.  Gwen never finished her degree, taking the path of wife and mother, instead.  Don, once with great scholarly potential and a desire to teach, has fallen into the path of inertia, working only as hard as he needs to, to make ends meet.  His position as dean pays better than teaching, yet requires less mental engagement to get the job done. 

Catherine's arrival at home finds her at loose ends, thinking that her mother's heart attack signals her end sooner than later.  With no other life partner, she's looking for something to hold onto.  Don offers her a job teaching at the college.  Her first class is a seminar studying concepts put forth by Betty Friedan and Phyllis Schlafly, among others.

It's an interesting exploration as Catherine reconsiders her own life through the lens of Friedan and Schlafly, with color commentary from her mother.  Ms. Gionfriddo walks a fine line between story and women's studies. Director Peter DuBois maintains this compelling tale with a lot of laughs even though most of the plot points are well-telegraphed early on.  Even when you see it coming, the major plot twist still works.

Ms. Brennerman's Catherine stumbles and flounders through her reconciliation of deciding where her life will go next.  The term "honest" keeps coming to mind as I think about her performance.  Ms. Overbey's Gwen has mastered the art of passive aggressive, wielding her successful abstention from alcohol like a weapon.  Mr. Tergesen's Don is not quite so well-drawn, filling in more as a foil for the women around him.  Virginia Kull (recently seen in Assistance at PH), fills up her role as Avery , Don and Gwen's "Generation Now" babysitter, who finds much of the Friedan/Schlafly arguments inane in the 21st century with the self-righteous assurance of a 21 year old.

Alexander Dodge fits a lot of scenery onto the modest PH stage, borrowing a bit of shingled siding from Allen Moyer's set from Grey Gardens.

See this one while you can.

Rapture, Blister, Burn runs through June 24.  See my earlier post for discount ticket information.

Playwrights Horizons Discount offer

DISCOUNT TICKETS TO RAPTURE, BLISTER, BURN for BLOG READERS:

Regular run:
May 18-June 24, Tues 7, Wed-Fri at 8, Sat at 2:30 & 8pm, Sun at 2:30 & 7:30pm
Additional Monday evening performance June 11 at 7pm.


Order by June 5 and use the code RBBLOG [note two B’s]
$40 (reg. $70) for all performances May 18-27
$50 (reg. $70) for all other performances May 29-June 24

Online:
https://www.ticketcentral.com/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=10613999-17A1-44C0-9B55-02D6C3534E5E&sessionlanguage=

Call Ticket Central at (212) 279-4200 Noon to 8PM daily
In Person: Ticket Central Box Office, 416 W. 42nd Street between 9th & 10th Avenues

A Letter From The Bishop

 

Shameless Self-Promotion

I will be playing the role of Father John in the New York reading of A Letter From The Bishop by Tony Adams.

The reading will be held at St. Clement's Theater, 423 W 46th St., in Hell's Kitchen on Monday, June 11, 2012 @ 7 pm.

Free admission, but reservations are strongly suggested: here.

Check out the site Tony has set up with a few more details: http://aletterfromthebishop.blogspot.com/

Ghost, the Musical

"Ghost, the Musical" at Lunt-Fontanne Theatre, April 20, 2012

Yes, another Whoopi Goldberg film has made its way onto the stage, landing at the Lunt-Fontanne laden with scads of sparkling, flashy lights and some remarkably clever stagecraft.  Yet, like its predecessors (The Color Purple, and Sister Act), the results are mixed at best.  (Full disclosure, I did not see The Color Purple.) 

Bruce Joel Rubin's cursory book remains true to the film, telling the story of Sam (Richard Fleeshman) and Molly (Caissie Levy), young lovers parted by Sam's murder at the hands of a hired thug.  Unable to move "into the light" Sam eventually connects with Oda Mae (Da'Vine Joy Randolph), a two-bit psychic with heretofore unrealized abilities.

But you all know the story.  And there are no variations offered here, though a couple of plot points have been streamlined for time.

The quite hunky Mr. Fleeshman sings nicely as Sam, but seems to withhold his chemistry with Ms. Levy until well after his character is dead.  Ms. Levy's Molly fulfills her obligations, but comes up a little short.  Bryce Pinkham's Carl brings the strongest physical resemblance to his film counterpart, but fails to convey his attraction to Molly sufficiently.  Ms. Randolph finds the most success as Oda Mae.  She plays the role much more broadly than her predecessor, but in 1500-seat  Lunt-Fontanne, that's what's called for.

Director Matthew Warchus' staging raised a question or two for me.  In the penultimate number, the reprise of "Unchained Melody," neither Sam's nor Molly's face are visible.  If ever there were a time to show some emotion, that was it.  The rest came off a bit perfunctory.

Ashley Wallen's choreography adds little and reminds me very much of the scene transitions from 2010's short-lived Enron, when combined with the John Driscoll's video and projection design.  Not to minimize the impact of the video and projections, those added significantly to the visual.  The subway scenes worked especially well.

The score is serviceable, if bland, filled with more than the requisite number of power ballads, courtesy of Dave Stewart and Glen Ballard.  I would have liked more integration of score and book, with the music serving to expand character more often than not, rather than add to the storytelling.  I think there was a missed musical opportunity for something really interesting and fun when Oda Mae first shows up at Molly's to warn her.  It all felt just a little too safe.

Where this show satisfies are the visual effects.  Some are things you've probably seen before, but others are remarkably well done, particularly Sam's first time passing through a closed door.  The final effect is also noteworthy as Sam moves from this world to the next.  Kudos to Paul Kieve for his efforts.  (I'm guessing there's no Tony category for Best Stage Illusions.)

Ghost the Musical is on an open run.  Get tickets here.

Macbeth

"Macbeth" presented by Aquila Theatre at Gym at Judson, April 21, 2012

I first encountered Aquila when the company was in residence at the University of South Carolina.  Their approach to theatre was one of minimal production values but highly clever direction and staging.  Their production of The Iliad was eye-opening as they created the Argo using only a half dozen 6 foot poles. Aquila moved to New York in 1999 and has produced here regularly along with national tours and international performances. 

Their latest offering is the Bard's Scottish play, performed with a cast of nine on a bare stage at the spartan Gym at Judson.  Director Desiree Sanchez has the actors doubling and occasionally tripling roles, and for the most part, it works very well.  Working with Peter Meineck's elegant light plot, the stage is divided like a chess board.  Though Ms. Sanchez declines to overwork the concept of a chess match, she does exercise the squares of light to clearly define a sense of location.

Guy Oliver-Watts in the title role reflects his training, conveying a Macbeth of manic mood swings.  From time to time, his rubber-faced reactions undercut his intensity.  As his scheming bride, Rebecca Reaney plays the mood swings with a bit more success, immediately ambitious upon Macbeth's first success and quick to turn to darkness to achieve her aims.  Most successful in the cast was Peter F. Gardiner, primarily as Banquo, but giving nice turns in several other supporting roles.  Aaron McDaniel is a bit over-earnest as Malcolm, but with that head of gorgeous hair, it's an easy sin to forgive. Rachael Barrington stumbles in the male role of Rosse, but redeems herself as a bitter and frightened Lady Macduff.

It's a solid production, but lacks the clever and interesting staging I've seen from Aquila before.  Hopefully, they will get back to that with their next production.  Macbeth runs through May 6, 2012.  Get tickets here.

Once

"Once" at Jacobs Theatre, March 8, 14 and 28, 2012

(Photos: Joan Marcus)

It's been a couple of years since I've seen a show multiple times.  The last was Lincoln Center's sweeping revival of South Pacific, which I saw once in previews, once mid-run, and the closing performance. The beauty and romance of that show is very different from Once, based on the 2006 movie of the same title.

After a successful run off-Broadway at New York Theatre Workshop, Once has moved uptown for what I hope will be a lengthy run. It brings its own sense of romance, intimate and touching, while hunkered down in a Dublin pub.  Each of its characters are searching for his or her respective place in the world.

Leading the quest are the generically, yet conspicuously named Guy (Steve Kazee) and Girl (Cristin Milioti).  He, a vaccuum repairman and frustrated musician, is foundering after having his heart broken by a recently emigrated girlfriend; she, by an estranged husband who has returned to their native Czech Republic.  She encounters Guy at the pub and is immediately drawn to him, sensing his despair, and manages to turn him to his music to resolve his pain.  The spark between them smolders slowly as each convinces themselves of reasons to stay apart.  She sees his departed girlfriend as first love unresolved, which would forever be a barrier between them.

Sharing his musical instincts, Girl convinces Guy to record a demo album, take it to New York, get his girlfriend back and live happily ever after. She arranges the financing and the backup musicians, mostly her ragtag Czech housemates to make the recording.  I'll skip the rest to avoid a spoil.

Mr. Kazee finds himself in an most suitable role for his talent, far exceeding his performance in 2007's 110 in the Shade.  As Guy, he hesitates and demures at Girl's initial bossy insistence that he pursue both his music and his lost love.  When he sings, his broken heart virtually pounds with raw and visceral emotion.  We clearly see him struggle as the songs he wrote for one woman take on another meaning as he recognizes his feelings for a potential new love.  It's a powerful, honest performance.

Ms. Milioti's captures the direct, no-nonsensibilty of the Czech emigre. After hearing his music, she says, "You are like Mendelssohn, except you are alive...and Irish."  She is surprised to be caught up in her feelings for Guy, yet pushes him away for what she believes is his own good.  Her most touching moment comes when Guy asks her how to ask in Czech if she still loves her husband.  After he parrots her words to repeat the question, she answers, also in Czech which he won't understand, "I love you."

The book for Once, by Enda Walsh, expands the backstories and provides clearer exposition unfolding this story.  Director John Tiffany's delicate direction woven with Steven Hoggett's movement balance an otherwise eclectic mix of characters into a cohesive ensemble. The mostly diegetic score, has been expanded from the original movie, by Glen Hansard and Marketa Irglova.  Bob Crowley's scenic and costume design clearly delineates character and settings, working seamlessly with Natasha Katz' lighting.  The twinkling light effect for the hillside scene is quite clever.

I have to say, though I liked the original movie, it didn't move me like the stage version.  I think the heightened theatricality, combined with Mr. Kazee's and Ms. Milioti's tender performances are what generates the passion in the theatre.

Winter Wrap Up

Ok, it's been entirely too long since my last post.  Though silent, I've seen the following:

• Wit, presented by Manhattan Theatre Club at Friedman Theatre, January 17, 2012 - Cynthia Nixon takes on the role of Vivian Bearing, Phd, dying of cancer in this erudite memory play that retells her last days of suffering.  For all the heady use of language throughout the majority of the script, playwright Margaret Edson makes a puzzling turn away from the powerful use of language as her lead characters moans and wails through the last 10 minutes.  Ms. Nixon is effective, but didn't quite master the central gravitas of the role.
• Merrily We Roll Along, presented by Encores! at New York City Center, February 10, 2012 - Sondheim's awkward child gets another revision with a lengthened run courtesy of Encores!  It's nice to see the show after knowing the score for many years.  Most of the flaws remain, though there are some quality distractions.  Lin-Manuel Miranda nebbishes it up nicely as Charlie and Celia Keenan-Bolger discards glamour for the drunken Mary.  Elizabeth Stanley powers in a great Sherie Renee Scott knock-off as Gussie, but Betsy Wolfe doesn't quite give her Beth the charm and vulnerability we might have enjoyed from Kelli O'Hara.
• Carrie, presented by MCC Theatre at Lucille Lortel Theatre, February 15, 2012 - Stephen King is back on the boards and watered down with a flavor of Footloose.   In the title role, Molly Ranson sings sweetly, but gets held back by the tepid script.  Marin Mazzie as Margaret White, Carrie's mother, misses the bat-shit crazy mark needed to convey the danger of the religious fanatic. 
• How I Learned to Drive at Second Stage Theatre, February 17, 2012 - Only Norbert Leo Butz could turn such a creep into a sympathetic character.  Elizabeth  Reaser's Li'l Bit doesn't match his skill.  Supporting cast is good.
• The Lady From Dubuque at Signature Theatre, February 25, 2012 - The space at Signature's new facility is impressive - not a bad seat in the house.  The set is stellar.  The play, not so much, even with a pretty darn good cast.  Mr. Albee mixes themes from The Sandbox and Who's Afraid of Virginia Woolf  Laila Robins spews the bile and pain of her dying character.  Michael Hayden blusters and whines as the soon to be widower.  Jane Alexander is elegant in the title role - an angel of death, supported by Peter Francis James as her prancing henchman.
• Death of a Salesman at Ethel Barrymore Theatre, February 28, 2012 - The play has proven its artistry over and over again; it comes through once more in this revival.  I liked the use of original sets and music from its 1949 debut.  The casting doesn't quite work so well.  Philip Seymour Hoffman, quite the talented actor, just doesn't have the mileage yet.  In another 20 years, he'll be stunning in the role.  Andrew Garfield's Biff flails.
• And God Created Great Whales at Culture Project, February, 29, 2012 - Rinde Eckert is always interesting.  This setting of a man losing his memory as he completes a commission of a new opera based on Moby Dick.  Employing a series of portable, color-coded cassette recorders, he continues his work, under the watchful eye of his imagined muse (Nora Cole), who also prompts and guides his efforts.  The score, very much in the style of "contemporary opera" suffers under synthesized accompaniment.  When Mr. Eckert accompanies himself at the piano, things work much better.
• Shatner's World at The Music Box, March 4, 2012 - Relax, it was a free ticket provided by a friend.  Mr. Shatner reflects on his life and career, both highs and lows.  It was a pleasant diversion, but as expected, didn't really reveal much.
• Once, at Bernard B. Jacobs Theatre, March 8, 2012 - I've actually seen this twice already.  I'll make a separate post later.  (Hint: I really liked it.)
• Jesus Christ Superstar at Neil Simon Theatre, March 12, 2012 - The production arrives from Stratford Festival via San Diego.  Sir Andrew claims it's the first revival he's really liked, but apparently that applies to any revival of everything he's written.  Director Des McAnuff brings a flashy version of his go-to bi-level, scaffold-style set with an odd mix of costuming by Paul Tazewell (what was Magdalene wearing??).  He plays up Judas' obsession with Jesus, which could have made for more interesting interaction between Judas and Magdalene, had she not been so wooden.
• Now. Here. This. at Vineyard Theatre, March 17, 2012 - With such a likeable cast, it's easy to overlook the flaws in the latest efforts from the group that created [title of show].  The budget's a little better this time, demonstrated by a slick set from Neil Patel.  Each of the foursome offers revealing stories of varying painful and/or embarrassing memories.  The overall feel remains very much "off-Broadway revue."