Maybe that’s why I’m the only one still in his corner…kinda. ANARCHIST + CHINA DOLL were bad, but can we exclusively blame his writing?
— Steven Strauss (@aintnohero) March 24, 2017
Tag: New York City Serenades
MAN FROM NEBRASKA (Second Stage): Rapturously Sculpting Our Rapture (Tweet-of-Consciousness)
Almost felt like a movie w/ short, non-dialogue driven scenes featuring a series of characters sharing intimate exchanges in many locales
— Steven Strauss (@aintnohero) March 23, 2017
The Broadway Season in Play Revivals (Tweet-of-Consciousness)
All 3 play revivals this Broadway season have squandered special casts with staid at best, paltry at worst direction
— Steven Strauss (@aintnohero) March 22, 2017
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Theatre Roundup (Tweet-of-Consciousness)
THIS WEEK’S LINEUP
Bull in a China Shop (LCT3)
Dear Evan Hansen (Broadway)
Escaped Alone (BAM)
THE GABRIELS: Election Year in the Life of One Family (Public)
Hamilton (Broadway)
Natasha, Pierre & The Great Comet of 1812 (Broadway)
The Object Lesson (NYTW)
The Present (Broadway)
The Strange Undoing of Prudencia Hart (McKittrick)
Sunday in the Park with George (Broadway)
Tell Hector I Miss Him (Atlantic)
SUNSET BOULEVARD: Six Paradoxes in Search of a Resolution
Back in New York, back to Broadway. First stop, the current revival of Andrew Lloyd Webber’s Sunset Boulevard, whose conflicted quality can be summarized in these artistic paradoxes:
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HUNDRED DAYS (The Bengsons; The Public Theater’s Under the Radar Festival) – Tweet of Consciousness
HUNDRED DAYS (The Bengsons; Under the Radar): Yet another "this is our love story" confessional song cycle (with some dialogue thrown in)
— Steven Strauss (@aintnohero) January 14, 2017
Tweet of Consciousness: Weekend News Roundup
News regarding Escape to Margaritaville; Sweat; Hamilton in London’s quest to stop scalpers/touts; the Stuttering Association for the Young (and Bruce Springsteen, kinda); the Ambassador Theatre Group/Colonial Theatre; and the Nassau Coliseum:
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THE BABYLON LINE After Line After Line After Line After Line After Line After
What follows is a pithy textual representation of The Babylon Line, Richard Greenberg’s oh-so Greenberg-ian new play currently running at Lincoln Center’s off-Broadway Mitzi E. Newhouse Theater through January 22:[1]
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Tweet of Consciousness: THE FEVER (600 HIGHWAYMEN; The Public Theater’s Under the Radar Festival)
2. But with 1 of the worst last lines of the season: “This is the end…or is it a sort of beginning?” Bit too on the nose, no?
— Steven Strauss (@aintnohero) January 6, 2017
Dear Second Stage: WHYYYYYYY?!?!
The Sparknotes version of the essential background information that you need to understand my impending temper tantrum: one of the best off-Broadway, nonprofit theatre companies – Second Stage (2ST) – recently upped their digs to the Great White Way by buying the Helen Hayes Theatre, the smallest on Broadway and thus perfectly suited for plays and more intimate musicals. For anyone who bemoans the lack of new plays on Broadway, this is objectively a stupendous development because 2ST has long been devoted to exclusively producing such work (they also stage new musicals like Next to Normal and Dear Evan Hansen, but despite the superior quality of these, I just can’t be AS excited about the prospect of more always-prevalent new musicals on the Great White Way). To quote lyrics from the former musical: “It’s gonna be good/It’s gonna be good/It’s gonna be great/It’s gonna be fucking great!” Or is it?
Write All Nite 