Little Rock, now playing at off-Broadway’s Sheen Center for Thought & Culture, ostensibly chronicles the trials and tribulations of the Little Rock Nine, the first nine black students to integrate, amid relentless resistance, at Arkansas’ Little Rock Central High School in 1957.
Of the myriad of high-profile projects Lin-Manuel Miranda’s spearheaded in the wake of Hamilton’s otherworldly success — including, most recently, a truly cringeworthy American Express commercial — one of the most consistent and prolific, yet unheralded, remains his Hamildrop series.
The 2017-2018 Broadway season was the most turgid in recent memory.
Continue reading “Broadway Rocks? More like Broadway Summerstock”
My favorite theatrical experiences leave me with the exhilarating rush of wonder that accompanies a brain wrapping itself around a trailblazing piece of art, a feeling that can actually be summed up in the Williamstown Theatre Festival’s preferred acronym’d nomenclature.
ONE of the many subjects explored in Dangerous House — rising star Jen Silverman’s new play, marking her return to the Williamstown Theatre Festival after last summer’s superior two-hander The Roommate — could serve as a potent enzyme to catalyze a compelling drama.
Write All Nite’s been all quiet on the news front of late.
You may have noticed in my belated recap of the 2017-2018 Broadway season a severe lack of love for The Band’s Visit, the consensus pick for the best new musical of the year.
Like the best musical theatre composers, Jason Robert Brown externalizes the minutest — though no less significant — inner emotions, bringing them to the fore through soaring songs whose elevated registers match the extremity of the dissected feelings.
Write All Nite 