1. Charles Dickens’ A Christmas Carol: Full disclosure: I generally don’t get too excited by stage adaptations of A Christmas Carol. Sacrilegious, particularly around this time of year; I know. As much as I adore Dickens’ tale, I often find what have become ‘traditional’ mountings to be snooze fests - uninspired and stale.  Of course, I have my favorite film adaptations ranging from the sentimental, Scrooge (1970) to the unconventional Scrooged (1988). I’m only slightly embarrassed to admit that I was known to watch the Leslie Bricusse musical adaptation year-round as a child. And the hilarious and pitch perfect Richard Donner film starring Bill ​Murray has become somewhat of a seasonal tradition. So it comes as a bit of a surprise that this year’s filmed adaptation based on a 2018 Geffen Playhouse production should top my 2020 list. Although, I honestly should have had more faith given that this work is a collaboration between Michael Arden, one of the American theater’s most inventive stage directors and Jefferson Mays, one of the most talented actors to grace the contemporary stage. Paying homage to Dickens’ own tours and recitations of A Christmas Carol, Arden and his brilliant team of designers give us the most sublime and magical evening of Readers Theater imaginable. With adaptors Arden, Mays and Susan Lyons leaving most of Dickens’ text intact, Mays transitions from narrator to Ebenezer Scrooge to over 50 other characters throughout this one-man journey. And Mays is absolutely sensational. From his “once upon a time” with the fog rolling in from the streets of London, we are transported by the words of Dickens and Mays' bottomless bag of vocal and physical transformations. As he effortlessly slips from the misanthropic Scrooge to his benevolent nephew Fred, we know we are in for a treat. Whether distorting his face and limbs as the frightening Ghost of Marley or elevating himself from his toes through his joints, growing before our eyes, as the giant Ghost of Christmas Present, Mays makes his apparitions distinct. The color, variety, and layers that Mays brings to his narration is commendable and quite astonishing. Like Dickens, Mays is a lover of words. As Mays, the narrator, declares that Ebenezer “remembered everything” and “enjoyed everything”, it is astonishing how Mays, the Scrooge, is showing us just that. Even his simple, strategic tempo, particularly as he ascends the staircase of Scrooge’s cold, cavernous home, leads to an eerie suspense that is unmatched in any of the other film versions that have preceded it. Arden and Mays make Ebenezer’s transformation gradual and believable through generous beats connecting words, characters, and actions in each stave with Scrooge’s behavior earlier in the narrative. This is perhaps most explicit and effective in the scenario when Scrooge overhears his own words (“If he be like to die, he had better do it, and decrease the surplus population”) and he hangs his head and is overcome with “penance and grief.” With an actor as gifted as Mays, the one-man concept becomes an inherently brilliant one. Having the ghosts, characters past and present, joyous memories, and the feelings of sadness, regret, guilt, and melancholy all come from within the man, we believe in and applaud Ebenezer’s moral transformation more than ever. His need to change and his desire for redemption are propelled by these same powerful internal psychological forces. Years ago, popular actors and matinee idols, like James O’Neill and his Count of Monte Cristo, would recreate their most famous roles on tour for a lifetime. Mays is so good in this production, one almost wishes this theatrical tradition would continue with Mays reprising his role live for generations to come. Fortunately, he can with this first-rate filming. Here’s hoping a streaming service will purchase and distribute it for us to enjoy for future Christmas seasons. I think I’ve found a new favorite A Christmas Carol. Don’t tell Bill Murray.        ​

1. Crazy For You: Theater is, by its very nature, an ephemeral art form. As such, there is something extra special about being in the audience for a one-night only presentation, particularly if it's a star-studded affair directed and choreographed by one of musical comedy's funniest and most inventive talents, Susan Stroman. In honor of its 25th anniversary, Manhattan Concert Presentations staged this classic Gershwin/Ludwig confection (adapted from the Gershwins' 1930 Girl Crazy) complete with original Stroman choreography. Produced with a cast to make comedy and musical theater fans drool: Tony Yazbek (Bobby Child), Laura Osnes (Polly Baker), Harry "the original Bobby Child" Groener (Bela Zangler), Rachel Bloom (Irene Roth), Jerry O'Connell (Lank Hawkins), Mark Linn-Baker (Everett Baker), Nancy Opel (Lottie Child), and NBC favorites Jack McBrayer (Eugene Fodor) and Rachel Dratch (Patricia Fodor) - this charming show had its audience in the palm of its hand from its overture through its choreographed curtain call. Having grown up watching and loving the Paper Mill Playhouse's production on Great Performances, it was a wonderful treat to finally see a professional production of this delightful musical mounted with its Tony-Award winning choreographer at the helm. With limited rehearsal time and only one shot to 'bring it', the cast delivered performances full of passion, professionalism, and the occasional (and certainly understandable) opening night nerves - all translating into an electrifying, unforgettable night of theater. Yazbek's Bobby Child once again proves why he is currently Broadway's greatest hoofer (he came to my attention as an impressive Tulsa in the 2008 revival of Gypsy) and Osnes continues to justify why she is one of musical theater's most sought after ingenues with a Polly full of spunk and a grounded emotional center. Theater veterans Linn-Baker, Opel, and Groener add a dash of old-Broadway class to the affair while Dratch, McBrayer, Bloom, and O'Connell provided the appropriate levels of contemporary zaniness to make the material feel fresh. While each of the principals appeared to be having the time of their lives, Bloom, in particular, brought the infectious giddiness of a high school freshman on opening night to her bow. Given the applause Bloom received, it was clear this Golden Globe Award winning actress and acclaimed comic writer was fulfilling the dreams of every theater nerd in the audience. 

2. Hello, Dolly!: Bette Midler, last seen in a book musical on Broadway as a replacement for Tzeitel in the 1967 cast of Fiddler on the Roof, returned to her roots starring as Dolly Levi in this year's revival of Hello, Dolly! While not the perfect musical revival I had hoped for, this 1963 classic easily became the musical theater event of the year. Even at a Saturday matinee, you could feel a collective energy amidst the audience as the overture began - an energy commonly felt at rock concerts, yet rarely at Broadway musicals these days. What was perfect about this Dolly was its star (Rudin couldn't have nabbed a bigger and brassier one) and nearly all of its principal casting, While there were moments when the 71-year old Midler's voice sounded slightly strained (most notably during Before the Parade Passes By). there is no arguing that the vaudevillian antics of Dolly Levi and the oversized comic chops of Midler were a perfect match. And those who love musical theater, couldn't help but cherish the experience as Midler descended the Harmonia Gardens' staircase (decked out in Dolly's signature elegant, red sequined gown with feathered headdress) to the opening bars of the title song in what might be the most flawless musical theater moment of 2017. David Hyde Pierce, as one can imagine, made a wonderful sparring partner for Midler. While Horace must play second banana (and understandably so) to Dolly anytime they share the stage, Director Jerry Zaks more than made it up to David Hyde Pierce and his many fans by re-installing the humorous, once-cut "Penny in My Pocket" as the second act opening. His introduction song, the cleverly choreographed "It Takes a Woman", is also one of the show's musical highlights. And in addition to Midler and Hyde Pierce, Gavin Creel and Kate Baldwin give memorable performances as Cornelius Hackl and Irene Malloy, respectively. Creel infuses Hackl with undeniable charm while Baldwin (one of Broadway's most consistently terrific actresses) finds unexpected humor and tenderness in Malloy. Next up, Bernadette Peters and Victor Garber will be taking over for Midler and Hyde Pierce, giving Broadway aficionados another chance to see a new pair of fan favorites in these roles. David Merrick had a parade of stars coming in and out for a solid six years during Dolly's original run - let's see how many Rudin will be able squeeze out of this revival!               

3. The Play That Goes Wrong: There is always plenty of great theater to see in London...except on Sundays. Wanting to see a show each night I was in town, I decided to catch the long-running comedy smash The Play That Goes Wrong -  ironically, just months before it opened in New York. In a nod to Murphy's law, everything that can go wrong, does go wrong in this backstage farce as a group of amateur players attempt to make it through a Mousetrap-like murder mystery. Missed cues, mixed-up props, malfunctioning sets, injured actors, and more ensue. While the comedy might be sophomoric, the hardest working cast of the season delivers comic performances of unmatched commitment, discipline, and precision. As the complexity of the slapstick grew and the absurdity of the comedy escalated, I could not think of a time when I have laughed harder in the theater. As I think back to my own childhood, I remember watching Home Alone on VHS with my father and grandfather (whose first, second, and third languages were not English!) during the 1991 Christmas holiday. Say what you want about the dramatic achievements of Home Alone, but there is something quite special and impressive about a movie whose physical comedy can leave three separate generations (ages 7 to 80) laughing uncontrollably. Grinning ear to ear as I walked out London's Duchess Theatre, I thought back to that Christmas in 1991. Though The Play That Goes Wrong may not be primed to win the Pulitzer, it is great fun - entertainment that I know would leave three generations rolling in the aisles today. 

4. The Wolves: Sarah DeLappe's first play is a winner. Developed through the Breaking Ground Festival at the Huntington Theatre Company in 2016, The Wolves has enjoyed full New York productions at The Duke and most recently Lincoln Center's Mitzi E. Newhouse Theater.  Set around a series of pre-game exercises and practices, nine female high school soccer players tackle the complexities of adolescence. The physical precision of their soccer drills are matched by the rapid-fire volley of DeLappe's smart dialogue. From Harry Potter to the Khmer Rouge, there is no subject matter too juvenile or cerebral for these girls. The drama that DeLappe explores is all character driven and completely authentic - eating disorders, social anxiety, athletic and academic pressures, and even death. Whether dishing on boys, gossiping about each other, talking smack about their coaches, or discussing their menstrual cycles, each conversation adds to the creation of nine very distinct characters - several of whom transcend our very own basic assumptions and biases as the play unfolds. Director Lila Neugebauer assembles a superb (for lack of a better word to describe this type of tight ensemble acting) team. While each girl has wonderful individual moments, Neugebauer shapes DeLappe's work in way that we, as audience members, never forget how instrumental relationships can be in shaping personal identity. The emotional impact of this work sneaks up on you. In the course of 90 minutes, DeLappe has you fully invested in and caring for each of these young women. While we never have the opportunity to be fans in the stands for an actual game, if we did, we'd know exactly which team we'd be cheering for.  

5. Brigadoon: New York City Center presented a simply gorgeous revival of the 1947 classic that left audiences' imaginations and hearts full. Coming straight off An American in Paris (with National Tour, West End, and an upcoming Japanese productions running), Director and Choreographer Christopher Wheeldon mounts a sensitive production packed full of magic and love, primarily achieved through the score's beautiful ballads, Wheeldon's spirited dances, and the casts' earnest performances. With musical theater treasure, Kelli O'Hara as Fiona MacLaren, Loewe's melodies have never sounded more beautiful. O'Hara and Patrick Wilson's shared duets,  'The Heather on the Hill', 'Almost Like Being in Love' and 'From This Day On,' leave you wondering if finer songs have ever been written or if finer voices have every been heard on the stage. When O'Hara appears as a near memory to reprise these numbers in a New York bar room, she leaves you ready to pack your bags and return to the cursed (or is it blessed?) town of Brigadoon with Tommy Albright. For supporting roles, Wheeldon recruited two of An American in Paris' best: Robert Fairchild (originated Jerry on Broadway and in the West End) as Harry Beaton and Sara Esty (National Tour's Lise) as Jean MacLaren. While Stephanie J. Block (playing Meg Brockie) is always game for a comic number (her 'I'm Breaking Down' was the highlight of  last season's Falsettos), Daily Show veteran Aasif Mandvi gave the 1940s book a fresh, yet nostalgic vibe by playing Jeff Douglas with Dean Martin-gusto. Like some of the best Shakespearean plays, this Brigadoon, gives us a fairy tale full of all different shades of love: young, pure, lustful, and melancholic.     

6. Merrily We Roll Along:  A friend of mine once said about Merrily We Roll Along (and I'm paraphrasing): "It can't be turned into a good musical, but it can be performed brilliantly," This is the case with the Huntington's production. The major hurdle this and any production must overcome is inherent in its structure (and the structure of the Kaufman & Hart play its adapted from): Audiences must watch and believe that these horrible, miserable, embittered adults we are introduced to in the first scene were once the young, nice, hopeful artists-in-the-making in the finale. When the Huntington Theatre Company announced it would be remounting Maria Friedman's West End revival of Merrily We Roll Along, I have to admit, I was a bit nervous. I had seen the London revival cast when it was transmitted to movie theaters and I wasn't a fan. I remember the cast of the filmed production exacerbating the problems of the musical - each of the performances overstated, abrasive, and unbelievable. Either something magical happened as this production transferred over the Atlantic or Lonny Price's terrific documentary Best Worst Thing That Could Ever Happen softened my attitudes toward the material. Perhaps most instrumental in Friedman's success is her decision to re-cast all the of the principal females with American actresses. Broadway veteran Eden Espinosa now takes on the role of Mary Flynn, the alcoholic author/critic and Boston locals Jennifer Ellis and Aimee Doherty play Beth and Gussie Carnegie, Frank's first and second wives, respectively. Even West End originals Damian Humbley and Mark Umbers as Charles and Frank have upped their games diving deeper into the text and finding subtle beats to create cohesive characterizations across time. Friedman smartly makes Frank our central (almost tragic) character. Perhaps more clearly than in the London production, we understand how he 'got to be here.' It wasn't one mistake that caused Frank's life to spiral out of control. It was many small mistakes, while sometimes misguided, always seemed right in the moment. And with Friedman making the narrative work for Frank, perhaps, she was able to make Merrily as good as it can get. While Merrily will never lose the challenges it faces with its backwards arc, there was no shortage of wonderful individual moments in the Huntington's production, most notably: the undeniable chemistry of its three central friends (most apparent in 'Old Friends'), Ellis' heart-wrenching rendition of 'Not a Day Goes By' (it's given to her character before you even really know her and yet Ellis still makes your heart ache for Beth), Doherty's deliciously vampy show-stopping finale to Musical Husbands, and the delightfully silly "Bobby and Jackie and Jack." Perhaps my favorite moment in this revival occurs in the second act when Frank and Charley showcase their soon-to-be hit song, "Good Thing Going", at Gussie's party. In this production, time metaphorically stops for Frank, Charley, and all those who are listening to these young writers on the rise. We are enchanted by their talent. We are hopeful for their futures (even though we know the outcomes). And when these writers are persuaded to perform their song one-more-time (against Charley's better judgement), our stomachs sink for them as they've outstayed their welcome and the tide has turned as the guests' attention has drifted. Surprising to me,  all these fully realized individual moments paid off - for the first time, 'Our Time', the show's finale, left me feeling wistful. I tip my hat to you, Maria Friedman and the Huntington.

7. Amanda Plummer and James Earl Jones in The Night of the Iguana:  This past winter, director Michael Wilson and the American Repertory Theater in Cambridge offered Boston audiences a star-studded, though uneven, revival of Tennessee William's The Night of the Iguana. I was first introduced to this play as a freshman at the College of the Holy Cross where I had the opportunity to assistant direct a production for the Department of Theatre. Over the course of four years, I would go on to study, many of the greats: Shakespeare, Ibsen, Shaw, Williams, etc. ultimately settling in on O'Neill as my favorite playwright. I explored O'Neill deeper as part of a senior honors thesis that examined parallel Freudian themes in the playwright's life and work, most prominently those displayed in his masterpiece Long Day's Journey Into Night. Upon, revisiting Iguana, I was surprised by just how much the second act of the play has in common with some of O'Neill's greatest fourth acts. In Iguana's second act, Reverend T. Lawrence Shannon, a defrocked Episcopalian minister taking refuge (in the midst of leading a vacation tour) at an old friend's Mexican motel, shares a cathartic confession with Hannah Jelkes, a spinster artist played exquisitely by Amanda Plummer. Much like Josie Hogan's offering of forgiveness and peace to a tortured James Tyrone in A Moon for the Misbegotten, Hannah's charity to Shannon is boundless while her judgement is non-existent. Plummer's performance is defined by its calmness and saintly grace. With a strong command over some of William's most poetic language, Plummer's reading of Hannah is full of kindness, humor, quirk, resilience, and redemption. And speaking of a command of William's poetry, the venerable film and stage actor James Earl Jones gives a commanding performance as Hannah's nearly 100 year old poet grandfather, Nonno, The wisdom, experience, and gravitas, he brings to Nonno's final poem reminds us we are in the presence of theater royalty - if only all WIlliam's interpretations could be as good as the ones Plummer and Jones rendered.  

8. A Doll's House: Part 2: Lucas Hnath, one of our most talented contemporary playwrights, is enamored by debate. While his last play, The Christians (unfortunately I never saw it performed, but read it afterward), was a terrific dissection of faith, A Doll's House: Part 2 picks up 15 years after A Doll's House left off and examines and disputes the conventions surrounding marriage, motherhood, gender, and law. A tightly constructed parlay, A Doll's House: Part 2 is a 90 minute joyride. While the characters are familiar to us, Hnath uses his sequel as a clever springboard for contemporary discourse full of hilarious one-liners and surprising, but logical twists and turns. While Nora was the hero of Ibsen's original, Hnath makes sure he gives everyone an equal voice in the sequel including Anne Marie, the Helmer's servant/nanny who had to sacrifice her life to pick-up the responsibilities that Nora left behind, Torvald, the emotionally devastated husband, and Emmy, the daughter made in her mother's pre-enlightened' likeness. Still, with nearly 140 years between the original and this sequel, enough time has passed to poke some fun at these consequences through deconstruction. Laurie Metcalf dazzles at the center of a strong Broadway ensemble giving one of the season's most memorable performances as the funny, self-aware, and often absurdist Nora Helmer. With four actors, a recognizable property, a single set, and an audience pleasing script, A Doll's House: Part 2 will surely be one of the most produced plays of next season.

9. The Hairy Ape: While Eugene O'Neill's 1922 expressionistic play The Hairy Ape is best known for its indictment of industrialism, its themes of class conflicts, disillusionment, and the disharmony between the self and society were particularly pertinent in 2017.  Originally staged at the Old Vic in London, this re-conceived production by Director Richard Jones was mounted in Manhattan's huge Park Avenue Armory. Set (and costume designer) Stewart Laing brought Ape's theme of the mechanization of society to life through a giant circular conveyor belt used to help set each of the play's eight episodes. Bobby Cannavale plays Robert "Yank" Smith, a stoker, who after being humiliated by Mildred, the daughter of a rich steel corporation executive, goes on an unsuccessful search to find his sense of humanity/belonging among 5th Avenue aristocrats, the Wobblies, and eventually a gorilla in the zoo. Cannavale is perfectly cast in this role - he imbues strength, machismo, and athleticism. In the early scenes, he possesses a coarse pride that matches the fire he's fueling in the boiler. And as he journeys as a 'forgotten man' through a new 20th century world, we see Cannavale's desperation, frustration, and despair grow in a quite moving way. Giving one of the most visceral performances this year, he's one of our most gifted stage actors - the type Directors like Harold Clurman or Lee Strasberg would have killed to work with at the Group Theater. Other standouts in the cast also include David Constabile as Paddy, a terrific foil for Yank as he bemoans the loss of the sea's romanticism to the age of coal, and Becky Ann Baker as Mildred's reticent Aunt. While Jones gives his all to use the expansive Armory to the show's advantage, much of the claustrophobia that sets in on Yank and his "caged" comrades is lost on the audience in this unique theater setting. The Old Vic provides a first-class memorable production in an unforgettable venue, but one can't help long for the heat O'Neill's original audience must have felt in Greenwich Village's tiny Provincetown Playhouse    

10. Kevin Kline and Kate Burton in Present Laughter: Since Present Laughter first opened on Broadway in 1946, stars have lined up regularly to step into the role of Garry Essendine, a part Noel Coward originally wrote for himself. Academy Award winner Kevin Kline follows in the footsteps of Victor Garber, Frank Langella, George C. Scott (which also featured Kate Burton as Daphne Stillington), Coward, and Clifton Webb on the Great White Way; in addition to the dozens of other well-respected actors who have tackled the part in the regional market and abroad.  The best way to describe Kline's comic performances is effortless. From his witty deliveries to a seductive lean or a double take in the mirror, Kline is in full control of his elegant performance; with every gesture so deliberate (yet smooth) you know Essendine blocked it himself. With Kline comes the athleticism of a former matinee idol and with the oral polish of a classically-trained actor.  Kate Burton provides equal sophistication as Garry's wife, Liz. Filling Liz with equal parts dignity and warmth, she serves as the perfect partner to challenge, calm, and bring order into the life of the man whose number she knows so well. Kline and Burton's scenes are some of the very best in this revival, reminding audiences how good high comedy can be when performed with style. This winter, I took a group of high school students to see the play. While I was expecting them to enjoy the big showbiz egos and farcical twists the most, I was taken a bit off guard to hear what themes they were talking about afterward. Surprisingly, this group of fourteen to eighteen year old boys were most fascinated by the blurred lines between one's public/stage persona and one's self. Clearly - if this was the topic of conversation during our post-show dinner, it must be chalked up to Kline's carefully etched portrayal of Broadway's most popular narcissist. 

11. The Stage Management of Burn All Night: Whether you like it or not, immersive theater is here to stay. With a catchy, pop score by Van Hughes, Nicholas LaGrasta, and Brett Moses (members of Teen Commandments), Burn All Night is a coming-of-age story set in and around the night life of New York City as the end of the world approaches. While the score, genres, and stakes all make the dramaturgy of this piece a bit incongruous, the stage management of this production deserves special commendation. In an effort to attract young, spirited theater-goers, drinks are sold from the bar throughout the performance, with many of the scenes being staged around a shifting audience to bring viewers directly into the heart of the action. Given the major physical obstacles of this production, it's not surprising that at least two glasses broke in the middle of the performance. Responding to the spilled booze and shattered glass, the crew members of Burn All Night were barely seen or heard as they swiftly cleaned up the mess before the audience was required to make its next shift. The show must go on and it did, indeed, thanks to the skill and professionalism of Burn's backstage team.  

1. The Band’s Visit at the Atlantic Theatre Company: On November 12, days after the Presidential election, I attended the first preview performance of The Atlantic Theatre Company’s premiere of The Band’s Visit. I knew very little about this new musical except that it had been adapted from a relatively unknown, but critically acclaimed Israeli film. Always interested in seeing new work, I was especially curious about this project being a fan of nearly everyone involved including composer David Yazbek, director David Cromer (Hal Prince had once been attached), and featured actor Tony Shalhoub (giving an understated performance of infinite depth). The months leading up to the election had been ones defined by mudslinging, hatred, cynicism, and tension. Following election night, you could detect in the air (regardless of which candidate you supported) a genuine sense of depression, uncertainty, and fear - particularly strong among New Yorkers. Though after the 90 blissful minutes of The Band’s Visit, a show about love, connection, and commonality, I emerged from the theater with a renewed faith in humanity, compassion and goodness. Not bad for a modest Off-Broadway musical? Now if Washington could take a note out of Yazbek, Cromer, and Itamar Moses’ figurative and literal book!
 
The Band’s Visit finds members of the Alexandria Ceremonial Police Orchestra, ready to perform at the inaugural ceremony of an Arab cultural center, stranded overnight in the wrong Israeli town. The Egyptian musicians are taken in by local Bet Hatikvans: Dina (a mesmerizing Katrina Lenk), a cafe owner; and Itzik (John Cariani giving a very touching performance), the unhappily married new dad living with his baby, wife, and father-in-law. While nationalistic tensions are certainly not ignored, they are not explicitly explored either. Instead, the creatives focus on the generosity of the human spirit, instinctual, mutual curiosity of the other, and the universal need to find connection and love in one’s life - the last theme emphasized  in the beautiful and  powerful  full-company ballad “Answer Me”. Not suprisingly, Cromer directs one of best acted musicals I have ever seen. Every moment is full of truth. and when appropriate, he trusts silence to speak louder than words. Additionally, Yazbek writes an evocative score reminiscent of his best pieces in Women on the Verge of a Nervous Breakdown. While the show is wrapping up its limited (though twice extended) run at the Atlantic next week - fingers are crossed a larger audience will have an opportunity to see this piece during a future commercial run. 

Following a joyous encore featuring the band (doing double duty) of The Band’s Visit, I hopped in an Uber heading to Grand Central to catch the Metro North home. Wouldn’t you know, my driver was a first-generation Egyptian American. During the 15 minute ride, we discussed everything from the musical I had just seen to Egyptian popular culture and music, the current political state of Egypt, the immigrant experience in America, and the most recent election. Perhaps, if I had not seen this musical, I would have sat quietly in the back seat of the car Tweeting and responding to email on my iPhone until I arrived at my destination. But after the evening’s performance, I couldn’t help but want to get to know the man behind the wheel. It is unlikely that The Band's Visit will change the world - but it certainly left a lasting impression on mine - Uber and onward.   

4. Jessica Lange in Long Day’s Journey Into Night: Eugene O’Neill’s Long Day’s Journey Into Night is easily the greatest American family drama, if not arguably (and I’d be the first to defend it) the greatest American play. This year, the Roundabout Theatre (also represented on this list with Jane Krakowski in She Loves Me) gave this heart-wrenching work a most worthy revival. While the whole cast is terrific, this remounting belongs to its Mary Tyrone, the exquisite Jessica Lange, a favorite and frequent collaborator of the show’s producer, TV mogul Ryan Murphy. Lange’s performance is lovingly shaped by English director Jonathan Kent. And I use the term ‘lovingly’ as much for the way he stages this production (the audience becomes fully engulfed by the vulnerability of Lange’s character by placing her on a downstage left bench during some of her character’s most intimate, unprotected, and personal moments) and the way he brackets and highlights her two-person scene with the maid Cathleen giving her an opportunity to make Mary’s isolation and loneliness even more pronounced. Kent is smart to try to preserve these deeply sympathetic moments for his Mary because Lange is a truly visceral and spontaneous (though extremely disciplined) actress who has now been given the freedom to deliver an unforgettable performance layered with hurt, malice, regret, anger, blame, and paranoia. The most welcome surprise Lange brings to the role is her undeniable sex appeal. Playing opposite an extremely charismatic and distinguished Gabriel Byrne as James Tyrone, one can imagine this couple in their youth at the height of their physical beauty embarking on a relationship defined by passion and the promise of a hopeful future. Lange and Gabriel make it easy for the audience to believe in the good years and know there is love and sorrow beneath their rancorous present. And in the last scene, Kent has Mary enter in a morphine-induced haze to the downstage bench, fading out on her paralyzed family and spotlighting Lange for her final observation: “Yes, I remember. I fell in love with James Tyrone...and was so happy for a time.” As the remaining lights descend on its luminous star, the audience tries to savor every last moment of her breathtaking and heartbreaking performance. 

5. Sutton Foster in Sweet Charity: Sutton Foster, possibly more so than any other Broadway star that has tackled the role before her, finds the delicate balance between the whimsy and the wistful in Charity Hope Valentine - a quality that made Guilietta Massina’s title role performance in Federico Fellini’s masterpiece Il Notti di Cabiria unforgettable. Like Massina, Foster has the rare ability to clown around in one scene (Foster’s shtick in Vittorio Vidal’s penthouse leaves us in stitches) and break our hearts in the next. Director Leigh Silverman calls some well-conceived creative shots to re-focus her star’s character arc from the show’s beginning (using the full male ensemble to show the cyclical nature of Charity’s misbegotten relationships in ‘You Should See Yourself’) to its finale (re-structuring the musical numbers to end with ‘Where Am I Going?’). This new ending packs an emotional punch not achieved through the Good Fairy’s ‘hopefully ever after’ finale in the original and rewards the audience with a closing, self-reflective number with its star. While the pared-down production doesn’t always have a pay off (‘I’m Brass Band’ without any brass performed by an ensemble grounded in their Fan Dango costumes ready for the next scene, for instance), Sutton Foster knock-out performance in one of the most intimate spaces in New York makes this production can't miss. 

6. Walter Bobbie’s Direction of Bright Star: Having worked on the short-lived musical High Fidelity with Walter Bobbie in 2006, I know he is the type of upbeat, dedicated director who doesn’t merely develop musicals with his creative team, but he builds family amongst his cast and production staff. In his visually stunning production of Bright Star where principals, ensemble, and band are all fully integrated into the storytelling. Bobbie was the perfect person to be at the helm of this project. Set in two time periods (1920s and 1940s), Bright Star begins with the post-WWII return of soldier, Billy Cane (A.J. Shively), who is mentored by Asheville Literary Journal editor  Alice Murphy (a sensational star-turn by Carmen Cusack), a once backwoods spitfire. And through classic melodramatic plotting devices we learn, without much surprise, how these characters and their stories are connected. The shortcomings of the story are certainly elevated by a lively and often lovely score by Steve Martin and Edie Brickell, outstanding performances, and Bobbie’s dynamic staging, seamlessly conceived with Josh Rhodes choreography. Bobbie coaxes grounded, first-class performances out of Cusack and Shively as well as Hannah Elless (delivering the show’s most beautiful ballad “Asheville”) and Paul Alexander Nolan as Billy and Alice’s love interests, respectively. Supporting actors Emily Padgett and Jeff Blumenkrantz deliver pitch-perfect charming, comic performances as Journal co-workers. Perhaps what made Bright Star most enjoyable, though, are the theatrical devices Bobbie employs to keep the narrative flowing between multiple locations and periods. Highlights include: utilizing the entire ensemble in the title song to mark Billy’s journey to Asheville  in what may be Broadway’s most successful  “montage number”; Cusack’s simple, Brechtian, yet still somewhat magical onstage transformation from polished professional to plucky teen in “Way Back in the Day”, the convergence of two eras in the ebullient act two opener “Sun is Gonna Shine”; and the synthesis of song, story, character, and movement through an always present and frequently gliding, stellar bluegrass band.

7. Savion Glover’s Choreography in Shuffle Along: Shuffle Along, or the Making of the Musical Sensation of 1921 and All that Followed, the longest titled musical on Broadway this season, is George C. Wolfe’s historic re-telling of the birth of this all-black book musical as obstacles are overcome and tensions arise between the creative team and company behind the scenes. With an all-star cast including Audra McDonald, Brian Stokes Mitchell, Joshua Henry, Brandon Victor Dixon, and Billy Porter and a backstage story filled creative egos and racial tensions, there is certainly more than enough drama to sustain a compelling 21st century musical. Unfortunately, Wolfe with his edifying book full of dense narration never fully commits to dramatizing the story. But when this sensational cast breaks into song and dance - the results are electric. Savion Glover, one of the most talented dancers and choreographers working today, delivers some of the most expressive and memorable tap numbers Broadway audiences have seen in years. Full of innovation, syncopation, and athleticism, Glover derives multiple showstoppers from this Sissle-Blake score starting with the opening number “Broadway Blues”. And with first-rate designs by Santo Loquasto (sets), Ann Roth (costumes), and Jules Fisher and Peggy Eisenhauer (Lighting), Glover’s numbers range from dazzling (“I’m Just Wild About Harry”) to elegant (“Everybody’s Struttin’ Now”). While the original creators of Shuffle Along were threatened they would not be remembered, Glover’s re-inventions of these  1920s tunes, will surely not soon be forgotten.

10. Jane Krakowski in She Loves Me: She Loves Me’s Illona is a product of an era when musical theater writers were giving birth to soubrettes who were both sexy and funny. When reviving such a gem, there is no better actress to fulfill a role like this one than Jane Krakowski whose comic sensibility is so sharp audiences know there can only be substantial brain behind the endearing ‘dumb blondes’ she embodies on stage and screen. What makes her Ilona special is also her ability to balance innocence with licentiousness resulting in harmonious comic perfection. Each one of Krakowski’s numbers (“I Don’t Know His Name”, “Ilona”, “I Resolve” and “A Trip to the Library”) is a highlight. The Roundabout must have taken special note of Krakowski's crowd-pleasing performance during early previews (when I saw the production) because before long she was literally being dragged in front of television audiences in full-split position by Gavin Creel (Kodaly) during every talk show promotional appearance the show made. While Jane Krakowski has had a celebrated career in memorable supporting roles on network television (and now Netflix), she is one of those magnetic actresses who would have had writing teams lining up around the corner with the hope she would headline their latest musical comedy in the 50s and 60s. Though we can’t turn back time, hopefully this triumphant homecoming to Broadway will afford  Ms. Krakowski the opportunity to return to the boards on many more occasions moving forward. 

2016 Honorable Mentions:

• "Tahrir is Now" from We Live in Cairo by Patrick and Daniel Lazour as performed at Encores! Off-Center Jamboree
• The National Tour of An American in Paris*

*Original Broadway production was recognized as part of 2015's List.

Jack Viertel, senior vice president of Jujamcyn Theaters and the artistic director of New York City Center's Encores! series, has written a gift for anyone who considers themselves a writer, student of the theater, or simply a lover of the American musical. The thesis behind Viertel's The Secret Life of the American Musical: How Broadway Shows Are Built​ springs from a course he offers at New York University's Tisch School of the Arts - how lucky these BobCats are! Through countless examples from Golden-Aged classics (Guys and Dolls, Gypsy, Fiddler on the Roof, etc.) to contemporary blockbuster hits (The Producers, Hairspray, etc.), this book embraces the importance of structure in the American musicals.  To Viertel's credit, even when he cites shows you may dislike, you can't help but admire the iron-clad architecture that helped make them successes with popular audiences. And for those shows you adore, Viertel's insights will make you fall in love with them even more. For example, Viertel maps out the dependence and ultimate convergence of Guys and Dolls' brilliant double plot. He also highlights how the last thirteen minutes of Sweeney Todd's narrative re-explores no fewer than sixteen songs to create an unforgettable finale. After reading this book, I know I will never look at musicals the same way again. For better or worse; for musicals good and bad; I will view all future productions with a greater appreciation for their construction. From opulent opening numbers to classic conditional love songs to toe-tapping 'tent poles', to simple but effective dialogue that can help untie the "Gordian knot' of the play, each of these strategically placed moments are integral parts of the journey.

The Secret Life of the American Musical is available on Amazon.

1. Bartlett Sher: If there is any doubt that Mr. Sher is one of the most gifted directors working in the American theater today, look no further than his revivals of Fiddler on the Roof and The King in I, both currently running on Broadway. What makes Sher one of the best is his consistent approach to exploring and analyzing the naturalism of the text. Never before have Golden Aged songs been delivered as organically within the context of a scene. While respecting the inherently good structure of the pieces he chooses, Sher and his actors’ analysis and exploration of character, context, and stakes, help propel the action forward in a way that feels both honest and relevant to contemporary audiences. Armed frequently with dream team designers Catherine Zuber and Michael Yeargan, Sher's revivals have never looked or sounded better. With an appreciation of theater history, there will always be certain stage images that I hold near and dear to my heart: Lear carrying Cordelia, Josie cradling Jim Tyrone, Mary descending the stairs with her wedding dress, etc. Always a master of the space, this past year, Sher staged two images/moments (one exhilarating; the other devastating) that I am sure will last me a lifetime. The first being Anna Leonowen's (Kelli O'Hara in a star entrance to die for) arrival to Siam. Underscored by a lush 30 piece orchestra, Sher docks Anna's ship in the center orchestra of the Vivian Beaumont and gets your adrenaline rushing as he prepares you for 'something wonderful' to unfold over the next two and a half hours. The second staging triumph is one that leaves your heart aching. As the milkman Tevye (Danny Burstein) reminisces about his now grown daughter Chava's childhood, Sher separates the past and present with a delicate scrim. As Chava pulls back the scrim, Sher shifts fully to the present where his youngest daughter begs her father to understand how her love for Fyedka can transcend religion, the cornerstone of the tradition that Tevye has tried to preserve. Burstein's Tevye, at a psychological and emotional loss, cuts his daughter off from the scene and his life by reinstating the scrim divide. While one coup is defined by its spectacle and the other by its sparseness, both are fully supported by the text they represent and forward the art of Sher's storytelling.

2. The Curious Incident of the Dog in the Night-time: I know this National Theatre import opened in 2014 - but I didn't catch this hit until 2015 and it was just too good to not be included this year. While Simon Stephens' play is a faithful adaptation of Mark Haddon's popular book, this production is ignited by the dynamic staging of Marianne Elliott (one of the ingenious co-directors behind War Horse), the inventive designs by Bunny Christie, Peter Constable, and Ian Dickinson, and an unforgettable performance by Tony Award winner Alex Sharp in the central role of Christopher, an autistic teen who comes of age through inadvertently uncovering family secrets as he searches for the murderer of his neighbor's dog. As Christie, Constable, and Dickinson present the perception of Christopher in the form of sensory overload, Elliott forces us to process the world much like Christopher would , often through confusion and obtrusive detail. Though the technical wizardry is extraordinary and effective, the most potent moments are delivered with true sensitivity by Curious' first-rate cast. Particularly, Ian Bardford's performance as Ed, Christopher's father, breaks your heart as he fights his paternal instinct to support, love, and comfort his son through touch during his greatest moment of need: an incapacitated Christopher discovering his mother deserted the family. Though I'm not one to frequently cry in public, I have to say the Mark Haddon played his cards right when he decided to have Ed begin to earn Christopher's trust back by purchasing him a Golden retriever puppy. Ms. Elliott if your Director's book didn't include the note: "Cue: Audience tears" as the puppy was revealed, then shame on you. Well played, indeed. 

4. An American in Paris' Christopher Wheeldon: Not since Christopher Gattelli took Broadway by storm with his exuberant and athletic production numbers in Disney's Newsies have I been so optimistic and excited about the future of choreography in musical theater. With New York City Ballet's Robbie Fairchild (his sister Megan was entertaining audiences down the street in On the Town) and the Royal Ballet's Leanne Cope in the leads, one goes into Paris expecting the ballets to be extraordinary. And the ballets certainly are breathtaking. What comes as a most pleasant surprise is the wit, charm, and energy, Wheeldon brings to the more traditional musical comedy numbers like "I've Got Beginner's Luck," "Liza," "S'wonderful" and "Shall We Dance." A master of mood, emotion, and style, Wheeldon is able to shift effortlessly from sexy to somber; from poetry to pizzazz, Like the best director/choreographers (I'd add Bob Fosse, Jerome Robbins, and Susan Stroman to my list), Wheeldon leaves his choreographic stamp on each number and every transition. In Paris, the music and the movement become one with the story and the characters (both leads and ensemble). Wheeldon brings romance, elegance, and sophistication back in a way that reminds us that Broadway can still be an escape for us adults looking to treat ourselves to a night out on the town.

5. Kate Baldwin in Bells Are Ringing: Styne, Comden, and Green created a gem of a role for a comic actress in Ella Peterson, the unlikely "Susanaswerphone" heroine in this delightfully '50s musical. And this past summer, Kate Baldwin was more than game for the role. Influenced by the sketch comedy and variety shows of the time, Bells are Ringing offers its female lead the opportunity to create several zany, memorable characters as Ella helps an out-of-work actor and a disenchanted dentist while finding love in Plaza O4433's blocked writer who she first became smitten with over the phone. Baldwin's Ella balances sweet ("Better Than a Dream") with sassy ("It's Perfect Relationship") and loopy ("Mu-Cha-Cha") with lyrical ("The Party's Over"). She lights up a room when she enters and welcomes you to grin ear to ear and chuckle at her charades. But most importantly, Baldwin gives Ella real heart - a definitive characteristic for not only this ingenue but for many that came out of this era. This Bells Are Ringing found a lead worthy of a star-vehicle in Kate Baldwin. These past two seasons, specifically, the Berkshire Theatre Group has spoiled audiences with what one can only hope are annual appearances by Ms. Baldwin. (Baldwin gave an elegant, brittle, comic performance as the Countess in 2014's A Little Night Music).  

6. Spring Awakening: Any concern about Spring Awakening receiving a premature revival was put to rest within the first few minutes of Deaf West Theater's innovative and thrillingly staged production at the Brooks Atkinson Theater. As the show opened with a mesmerizing Sandra Mae Frank signing the lyrics of "Mama Who Bore Me" to her reflection (Katie Boeck on guitar as the 'Voice' of Wendla) in the mirror, audiences knew they were in for a presentation that was going to be both beautiful and unique. Nine year's ago, Spring Awakening took Broadway by storm with Steven Sater's faithful, intelligent, and literate book (adapted from Frank Wedekind's scandalous 19th century German play) and Dunkan Sheik's infectious, raw, and often gorgeous pop and rock score. Director Michael Arden further emphasizes the miscommunication and misunderstandings between adolescents and adults through the use of hearing and Deaf actors and spoken word and ASL. This production gives audiences a feast for the senses with projected translations, shadow actors, signed choreography, and actor-musicians. Never before has adolescent desire, angst, and apprehension been brought to the stage with such clarity as it has been with Arden's ingenious staging and the energized and sensitive performances brought forth by his all-around strong cast.  

7. The Women of Williamstown: It's always fun to watch the summer theater festivals roll out their seasons in the spring. It is especially exciting to see what stars of stage and screen will head to the Berkshires where they will be given an opportunity to stretch and flex their acting muscles in new works, forgotten gems, or iconic roles of the American dramatic canon. The Williamstown Theatre Festival (or WTF, marketing presumably conceived by a millennial) did not disappoint last year after announcing that 'A List-ers' Kyra Sedgwick, Cynthia Nixon, and Audra McDonald would all be featured during the 2015 summer season. For years, Williamstown, with its demanding but brief rehearsal process, has served as the perfect artistic playground for some of today's top talent to safely test out new or bucket list roles during a schedule friendly limited summer run. Sedgwick, best known these days for her TV work in The Closer, starred in the formerly unproduced William Inge play Off the Main Road as Faye Garritt, a middle aged, emotionally fragile and libidinous, former debutante recently estranged from her abusive ballplayer husband. In Carey Perloff's Kinship, a contemporary Phaedra story (minus the tragedy(?)), Nixon once again proved herself to be a master of portraying vulnerability in strong, sophisticated women. Full of irony, lust, and anger, Nixon's emotional precision hits the bulls-eye in spite of the play's generally implausible premise. And arguably, the most memorable of these three stand-out celebrity performances was Audra McDonald's captivating turn as Josie Hogan in Eugene O'Neill's Moon for the Misbegotten. With such a short time allotted for an actress to inhabit this daunting role, it was simply astonishing to see how well McDonald realized each pivotal dramatic shift as Josie transitioned from earthy, headstrong daughter to flirtatious farmhand, to trepid lover, and ultimately empathetic savior for the repentant James Tyrone. At the end of the night, McDonald's performance brought a touch of grace to the lives of all those who took in this beautiful play of repentance and forgiveness.        

8. McCaela Donovan in A Little Night Music and Adrian Krstanksy in Come Back, Little Sheba at the Huntington Theatre Company: The Huntington Theatre Company in Boston, MA delivered two standout performances from local actresses last season. While "The Miller's Son" is one of those rare songs that Sondheim feels came out perfectly, it arrives in A Little Night Music at the most inopportune time for a supporting actress. Well past the two hour mark, Petra, Anne's maid and confidante, delivers one of Sondheim's signature here and now songs right when audiences are most looking forward to reaching resolution for Music's central quartet (Frederik and Desiree and Anne and Henrik) and calling it a night. Donovan manages to steal the show during a number that usually stops the show cold. Full of passion, humor, an unabashed sexuality, Donaovan's breakout turn makes the luck of the 'Miller's Son' (and anyone in between) look not that bad at all. I can't wait to see what Donovan brings to the SpeakEasy Stage Company's upcoming production of Dogfight. While Donovan has sex appeal to spare, Krstanksy delivered a beautifully touching, and ultimately heart-breaking performance as Lola, the schlumpy housewife in William Inge's Come Back, Little Sheba. Nobody explores the tension between marital entrapment and nostalgic affection better than Krstansky in this intimately staged production by David Cromer. From protecting herself from her enraged alcoholic husband, Doc, who has just fallen off the wagon (in the most unsettling and frightening scene I've ever experienced in the theater) to discovering her inability to escape the sad reality of her marriage while weighing her options with her disapproving parents, Krstansky brings such admirable emotional realism to the role.         

.9. Fish in the Dark: Fish in the Dark marked television legend Larry David’s Broadway debut, both as star and writer. One might say:  It wasn’t a Good Play. It wasn’t a Bad Play. But, My God it was a Play.  So why does this production make my Best of List? For starters, producers Scott Rudin and Lloyd Braun (yes that Lloyd Braun, but not really that Lloyd Braun), brought spring audiences a true theatrical event. What Mr. David created was a contemporary comic play somewhat reminiscent of the large cast comedies by Kaufman and Hart during in the 1930s – all the while preserving the brand of humor that die-hard fans (myself included) of Seinfeld and Curb Your Enthusiasm have come to expect from this irreverent comic. Larry David is not ”a real actor”, nor does he proclaim himself to be one. And nor did director Anna Shapiro (who is exceptionally good at working with actors) try to make him one. Larry David wrote a Larry David-like character and delivered a Larry David-like performance surrounded by a huge ensemble comprised of such gifted comic stage actors as Jayne Houdyshell and Jerry Adler. Much to the audiences delight, he even found opportunities to drop in some "pretty, pretty good" catchphrases made popular through his HBO sitcom. What made this production so memorable was the audiences’ general enthusiasm to be in the Cort Theatre where they were to see what would most likely be Larry David’s only Broadway outing as an “actor.” This show embraced theater as an ephemeral art form in the most exciting and commercial sense. There’s always a place on Broadway for event theater. Thank you, Mr. David, for making going to popular, commercial theater feel special again.      

10. Grey Gardens at Bay Street Theater: The perfect getaway for me consists of a day lounging on the beach followed by an evening of theater. When I choose to summer (I only use the word summer as a verb when referring to the Hamptons, though I'm not sure it can be applied to only a weekend escape) on Long Island, a stay is not complete without a stop at Artistic Director Scott Schwartz's Bay Street Theater in Sag Harbor. This past summer season included Frankel and Kories' Grey Gardens based on the 1975 documentary of the same title. Softening the malice of the source material, the first act of the musical begins at a time when Grey Gardens was somewhat of a destination for the social register. And then, act two picks up with the Beales where the documentary begins, in the midst of the Edies' decaying lifestyles. There were two elements that made this production worthwhile. First are the star turns by Betty Buckley and Rachel York. Perhaps delivering the best character work of their careers, one can easily overlook the somewhat unsatisfying structure and unsettling subject matter of this musical when watching two musical theater veterans at the top of their games. And second, as Lord Harold Samuel once said, it's all about "Location, Location, Location." When and where you experience a show can certainly enhance one's viewing experience. And with the musical drama unfolding just miles away from the real Grey Gardens, there really is no substitute for an all-too knowing Sag Harbor audience applauding Little Edie's recognition that "only in East Hampton can they get you for wearing red shoes on a Thursday." Only in the Hamptons. 

11. Kelli O'Hara and the Opening of the Robert R. Jay Performing Arts Center: While Saint John's High School and the Robert R. Jay Performing Arts Center are far from the lights of Broadway, the opening of this first-rate performing arts center holds a special place in my heart. Playing a key role in the fundraising efforts for this center, I could not imagine a more appropriate headliner than six-time Tony nominee and reigning Best Leading Actress in a Musical than Kelli O'Hara. Kelli's dedication to arts education is unparalleled and, simply put, there is no better interpreter of the American songbook than Ms. O'Hara. As one might expect, her rendition of "The Light in the Piazza" was astounding; her "O Holy Night" sublime; and her "Getting to Know You" with ten starstruck schoolboys irresistibly charming. Anyone who has read my Best of 2014 List knows that there is no other leading actress on Broadway who I respect more than Ms. O'Hara. The warmth and grace she showed to my home community as part of this monumental opening catapults my admiration of her to a whole new level. This was a special night that I will never forget and I know I'm not alone in this sentiment. 

It's one of my favorite times of the year: Spring. Warmer weather. Blooming flowers. Red Sox Opening Day. And a new batch of TONY Award hopefuls hitting The Great White Way. 

After seeing several of Broadway's latest offerings over this past month, I've come to the conclusion that I'd hate to be...a musical revival this year. This season, there are five musicals eligible in the Best Revival category: GIGI, THE KING AND I, ON THE TOWN, ON THE TWENTIETH CENTURY, and SIDE SHOW (closed). To date, I have been lucky enough to see three of these revivals and it is safe to say competition will be stiff. If you happen to be in New York this spring, definitely carve out some time for one of these three knock-out musicals.


1. On the Town: On the Town topped my Best of 2014 List from January and it should remain a priority on your must-see list. This pitch-perfect production is stacked with all-around terrific performances, boasts one of the biggest orchestras on Broadway, and features some of Broadway's best choreography. Performing in the 1,900 seat Lyric Theatre - there's no excuse for you to not be able to secure a ticket and see one of this season's best offerings. For more on On the Town, check out my Best of 2014 List.

2. The King and I: Anyone who knows me well, knows that I'm not a big Rodgers and Hammerstein fan. Unorthodox, I know, but I prefer my Rodgers with Hart and my Hammerstein with Kern. That being said, no one tackles R&H like Bart Sher and his dream-team of collaborators from Lincoln Center. In 2008's South Pacific, theater-goers were left breathless as Sher began with a dramatic reveal of one of the fullest orchestras Broadway had seen in years. His The King and I launches with even greater gusto when an equally large pit is covered as a docking ship (built to scale!) heads toward the audience and Siam in the opening beats of this lavish musical revival. The elements that make this production work should come as no surprise to those who have long-admired Sher's approach. No director more than Sher shows greater affection and respect for the text at hand. He works hard to achieve authenticity in terms of: performances (O'Hara delivers a beautifully strong, though surprisingly, and perhaps refreshingly, understated Anna) aethestics, and context (historic, socio-political, and cultural - as these relate to both the plays' settings and the times in which they were written and were originally and are currently performed). Sher and his actors dig deeper than any other production previously to explore and highlight themes of modernity, Westernization, and gender ensuring the material remains relevant for 21st century audiences. It is highly unlikely that we will ever see a more exquisitely staged, designed, and performed production of The King and I. I might be as bold to say that the sensitivity and intelligence that Sher brings with his direction probably helps LCT's production transcend its original 1951 mounting. And for those of you who grew up watching Brynner and Kerr (voiced by Marni Nixon) in the 1956 film adaptation, you can rest assure that the iconic "Shall We Dance" remains intact and has never looked better thanks to the Vivian Beaumont's beautiful, expansive stage.      

Stay tuned for Final Bow's next blog entry: Part 2: I'd hate to be... featuring some of this season's Best Actress performances. 

This past weekend brought me out to The Williamstown Theatre Festival to see Kander and Ebb's THE VISIT starring Roger Rees and the legendary Chita Rivera. These types of festivals are truly cultural jewels as they give artists the opportunity to both develop exciting new works and revisit the classics. While I was at Williamstown yesterday afternoon, I had to look no further than the program and the stage to be reminded just why I love theater folk.

Theater actors, to put it simply and crudely, work like dogs. Ms. Rivera is a national treasure in the eyes of generations of American theater-goers. At the age of 81 years young and with over sixty years in the business, she is working just as hard as those bright-eyed and bushy-tailed chorus girls and boys who just got off the train from Allentown, PA or any other proverbial American burg you want to name. Anyone who gets to the see THE VISIT will witness an octogenarian who wants to perform, loves to perform, and needs to perform. While her contemporaries in other more 'conventional' industries have retired to Boca, our beloved Chita is performing an eleventh hour pas de deux with a dancer nearly a quarter her age. Chita has been developing this specific work with John Kander, the late Fred Ebb, and book writer Terrence McNally since 2001. While the show has taken 13 years to reach New England, she has embraced the process every step of the way. She recently told The Boston Globe: "Going and working in that room everyday is really what you sign up to do when you say 'I want to be in the theater.' It's art at work, it's exciting in that way." And Ms. Rivera is not alone in her perseverance, discipline, and dedication to the craft. Other stage greats like John Cullum, John McMartin, Vanessa Redgrave, James Earl Jones, Angela Lansbury, and the late Elaine Stritch have all tread the boards through their goldenest of years. 

Unlike other professions, age and experience is revered. As I mentioned earlier, Ms. Rivera is joined on this production by John Kander (at 87 years old), Terrence McNally (at 75), and Graciela Daniele (the baby at 74). Together, this team and their star have over 170 years of professional experience behind them. Ebb, McNally, and Daniele are joined by John Doyle as director. I don't know how old Doyle is - but he assuredly is no spring chicken either. While it would be perfectly acceptable for the eldest statesman, Mr. Kander, to be a good sport and just show up ceremoniously at opening night, the composer has been readily attending rehearsals - only taking a break to accept the National Medal of Arts from President Obama last week. Doyle recently described the composer's work ethic: "He's standing at that piano and watching what's going on and rewriting chords and bits of music in relation to what we're doing in that moment in time. That's beyond privilege. Roger [Rees] used the word the other day: That's historic." That's historic, indeed. When I attended yesterday's matinee, Mr. Kander was greeting friends in the theater's lobby. I have seen and met my fair share of celebrities, but I have yet to become more starstruck than when I realized I was standing just a couple feet away from Mr. Kander. I first heard his vamps as a freshman in high school and I haven't been able to get them out of my head since. Over the years, there have been countless road trips, rehearsals, and theatrical viewings filled with his music - and always, falling in love, time after time, with those catchy tunes and beautiful melodies.

While the lights shine bright on the marquee, the theater is not always a glamorous profession. Sure - there are opening night parties and glitzy award ceremonies, but even when you make it to the top, your dressing room may bear a closer resemblance to a monastery cell than a suite at the Ritz. Possibly more than any other profession, there are the highest of the highs followed by the lowest of the lows. One day you're originating a role on Broadway with your face plastered on a billboard in Time Square and a few short months later you are opening a summer production in Pittsfield...literally. At the end of the day, each member of this collaborative sport called theater does it the love of performing, writing, designing, and storytelling. It's the work that's important and it ultimately becomes one's life (whole life's in many cases) work. 

Check out THE VISIT this month in Williamstown. You won't want to miss these theater legends doing what they do best.