NouNou On Broadway
Broadway Capsule Reviews by David NouNou
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All shows are reviewed at press previews or post-opening press night
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| SPIDEY'S TANGLED MUSICAL WEB: Reeve Carney as Spider-Man in what StageZine calls one of the worst Broadway musicals ever. Photo: Jacob Cohl |
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| Zero (0) Stars
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SPIDER-MAN: TURN OFF THE DARK
I never thought I would ever be saying the words "please bring back Wonderland," the ill-fated show that may have been one of the five worst musicals ever created for the Broadway stage, and played earlier this year mercifully for a short time. Who would have ever imagined one would long to sit through that dreadful musical over Spider-Man? The good thing about that fiasco was it did not have a reported $70 million price tag. Wow, just think of the different charities and jobless people the millions wasted on Spider-Man could have helped, not to mention closing the gap a little of the national deficit.
Only huge egos, pretentiousness, and any lack of artistic vision could create such a complete and utter mess. What there is of a plot is threadbare and incomprehensible. The score is a hodgepodge of songs and genres. The direction is aimless, and the choreography is pointless. The sets are cheesy and the costumes are absurdly tacky, and again you'll wonder where the money was spent.
The characters are not fleshed out properly, so there is no point in trashing the performers. Anyway, they must be so exhausted from all the changes they had to endure during this exhausting period that even they seem to have given up on character and motivation. However, two horribly, misguided performances and in desperate need of some or any direction do stand out: Patrick Page as The Green Goblin, instead of being the quintessential evil villain, is reduced to doing an impersonation of Jack Nicholson as the Joker in Batman shtick, delivering bad punch lines; and Michael Mulheren as J. J. Jameson, editor of the Daily Bugle. His lines are so trite and hackneyed, and talk about chewing up the proverbial scenery.
If you are easily impressed by a man in a harness, sporting tights and soaring over your head, then this may be your show. However, do not worry about this show's fate, for as long as there are tourists (God bless them) and teenagers that can afford to shell out the big bucks (they seem to get impressed easily with anything flying over their heads), the show will be around for a while.
Chalk up watching Spider-Man: Turn Off The Dark as much like being at a dance club on a really bad acid trip gone horribly wrong, with excruciatingly loud techno music playing all night long and no relief in sight to make it stop. Ouch.
FOXWOODS THEATRE, 213 West 42nd Street, (877-250-2929).
www.SpiderManOnBroadway.com
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| SING OUT, SISTERS: (left to right) Alena Watters, Rashindra Scott, & Patina Miller in 'Sister Act.' Photo: Joan Marcus |
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SISTER ACT
Sister Act is pure delight in large part due to the wonderful score by Alan Menken (music) and Glenn Slater (lyrics). In all honesty, I did not have much hope for this 1992 Whoopi Goldberg romp as yet another movie recycled into a musical. There have been so many movies turned into awful musicals this year; just read the list of StageZine's reviews and you will know which ones they are, but I am glad to report that Sister Act works beautifully as a musical
Patina Miller (Deloris Van Cartier), Victoria Clark (Mother Superior), all the delightful singing nuns, the fabulous disco/Philly sound score and rhapsodic orchestrations keep this musical running smoothly until the end, despite the fact that it runs out of ideas around the middle of Act II. Regardless, there is enough merriment to go around for a night of theatrical roof-raising entertainment.
BROADWAY THEATRE, 1681 Broadway at 53rd Street, (212-239-6200).
www.SisterActbroadway.com
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| MORMONS ON A MISSION: (left to right) Rema Webb, Andrew Rannells, Josh Gad in 'The Book of Mormon.' Photo: Joan Marcus |
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THE BOOK OF MORMON
It seems that each decade Broadway generates a landmark immortal musical. In the 1950s, it was My Fair Lady ; in the 1960s, Fiddler on the Roof ; and in the 1970s, A Chorus Line, etc., (you get the idea). Well, the New Millennium has finally gotten its groundbreaking musical and it is, without question, The Book of Mormon. I know some of you will say, "Well, what about The Producers ?" And I say that show was highly overrated and nothing earth shattering or original, as it relied heavily on its star power. If you want original, nothing compares to The Book of Mormon. The score, book, direction, acting, choreography, and design are all brilliant, and oddly enough, its roots are embedded, like the classics mentioned earlier, in the traditional but unconventional Broadway musical manner of starting with a great book and score and building on it from there.
From the first episode of TV's "South Park," I have been a huge fan of Matt Stone and Trey Parker. Their sense of humor is unique and fascinating. Nothing is sacred to them, and the word fear is not in their vocabulary. Irreverence is their mantra. Teaming up with Robert Lopez, who co-wrote Avenue Q, was a match made in Broadway heaven, for what they used was their brain, talent, and ingenuity to create a work of art and genius. No multimillion dollar budget and over-inflated egos; just sheer power of the word and the music. Throw in clever and inspired direction and choreography by Casey Nicholaw and a hugely talented cast, headed by Andrew Rannells and Josh Gad, both of whom are sublime, and the lovely Nikki M. James and Rory O'Malley are wonderful in what should be Tony Award-winning supporting roles. Hell, throw in Tony Awards for everything, starting with Best Musical, Best Musical Book, Best Score, and Best Direction on down the line.
EUGENE O'NEILL THEATRE, 230 West 49th Street, (212-239-6200).
www.BookofMormonBroadway.com
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| G'DAY, BROADWAY: The cast of the Broadway musical adaptation of the Australian cult film 'The Adventures of Priscilla, Queen of the Desert.' Photo: Joan Marcus |
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PRISCILLA QUEEN OF THE DESERT THE MUSICAL
Hallelujah, it's raining (no, pouring) drag, sequins, confetti and fun at the Palace Theatre. It has been over three years that Broadway has had such a fun (original, not revival) musical that is entertaining just for its own sake and doesn't take itself so seriously. Based on the 1994 movie of the same name, this is one film adaptation that bravely works. The movie is so iconic now that one would find it hard to imagine it being a satisfying musical. Is it perfect? No. Does it have flaws? Yes. But, who cares? It delivers the goods, and in the most jaw dropping of ways.
By now everyone knows the story, about three drag queens that travel the Outback in, Australia to perform their act at a casino and for Tick/Mitzi (Will Swenson) to finally meet his son. Of no fault of Mr. Swenson, but in this version his role has been sanitized to be more of a leading man than the leader of a drag group. He has the chops for Tick the father but lacks the effrontery of Mitzi the drag queen. Tony Sheldon as Bernadette comes off best. Having played the role in Australia as well as in London, his Bernadette is perfect and perfection. Nick Adams (Felicia) has the toughest part. In the movie Guy Pearce was incredible as Felicia, the perfect blend of, bitchy, camp and abrasiveness. Mr. Adams here has the unenviable task of delivering tired recycled bitchy lines and at times comes off as over the top. However as a trio they work very well together. The fourth lead, as in the movie, are the costumes. Not since the original versions of Follies and La Cage Aux Folles have there been such eye-popping, and, as I said earlier, jaw dropping, costumes as the ones designed here by Tim Chappel and Lizzy Gardiner. They even surpass what they created for the movie. They are showstoppers in and of themselves.
Disco music rules here, from Donna Summer, Gloria Gaynor, Madonna to John Denver (don't ask, just go with it). The songs are infectious and one cannot help but dance to the beat in one's seat. A fun musical is supposed to give you a good time and have you leaving the theater with a smile on your face and fond memories of the show. Priscilla delivers all this; and for the disco bunnies out there, even more.
PALACE THEATRE, 1564 Broadway at 47th Street, (212-239-6200).
www.priscillaonbroadway.com
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| NOT GOING GENTLE INTO THE NIGHT: Cynthia Nixon as a terminally ill English professor in 'Wit.' Photo: Joan Marcus |
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WIT
The 1999 Pulitzer Prize-winning play at last is making its Broadway debut. An often brilliant and extremely well-written play (one that has unfortunately made a couple of wrong choices on its way to Broadway) is about a tough, brilliant professor and an expert on the poetry of John Donne. She is struggling in the final months of her life of stage four ovarian cancer and the extreme treatments, the pain and humiliation that she has to endure.
Although it is tough sitting through this play, the writing and the dialogue are amazing, making the drama extremely memorable. Where it falters is in great part due to Cynthia Nixon. Playing the professor in clipped, chilly tones with a tinny voice, Ms. Nixon is more jarring and annoying than authoritative. Where there should be warmth and a command to the voice that should envelop the audience, instead she exudes a chill and distances herself from the audience, and thus the empathy for her diminishes. Also, there are some unwise decisions in Lynne Meadows' direction by injecting humor with facial gestures and tics that diminish the power of this harrowing experience. What was once a riveting and an extraordinary experience, thanks to the magnificent Kathleen Chalfant (who embodied the role) is now just another mediocre revival that this season has thrown our way.
MTC'S SAMUEL J. FRIEDMAN THEATRE, 150 West 65th Street, (212-239-6200).
www.witonbroadway.com
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| SCALED-DOWN 'PORGY & BESS': (left to right) Phillip Boykin & Audra McDonald in 'The Gershwins' Porgy & Bess.' Photo: Michael J. Lutch |
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THE GERSHWINS' PORGY AND BESS
You know you are headed into choppy waters when the curtain goes up on a production of Porgy and Bess
and you feel you are inside an industrial warehouse or the side of a
garage. This is an accurate description of the set designed by Riccardo
Hernandez to represent Catfish Row in late 1930s Charleston, South
Carolina. I have never started a review by describing the set, but when
one is as dreadful, non-representational, and so jarring to the sight as
this one, it is as good a place as any to start.
On the plus side, everyone in the cast has a beautiful singing voice.
Unfortunately, not all play their roles convincingly. Audra McDonald, as a
soprano, is magnificent. However, the usually superb Ms. McDonald
disappoints, for she is far too regal and elegant to be believable as
the troubled prostitute Bess. Norm Lewis lacks the charisma to be a
robust Porgy, and just comes across as bland, thus lacking the power to
keep Bess. Her leaving him should be tragic; in this case, it is not so
difficult to see why she can easily be lured away. As Sporting Life,
David Alan Grier is the most enjoyable. His "It Ain't Necessarily So" is
a showstopper. Although he lacks the menace the role requires, he makes
it work with charm. As Crown, Phillip Boykin is in excellent voice, and is
also disturbingly malevolent. NaTasha Yvette Williams’ Mariah is sheer pleasure.
Alas, in this production the cast is scaled down, the set is atrocious,
there is no charm to represent Catfish Row, and some of the cast members
just are not convincing. At best, this tepid revival is uneven, and at
worst, statically long.
RICHARD RODGERS THEATRE, 226 West 46th Street, (212-239-6200).
www.porgyandbessonbroadway.com
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| FIRST-CLASS VOYAGE: (l to r) Shina Ann Morris, Joyce Chittick, Colin Donnell, Sutton Foster, Joel Grey, Kimberly Fauré, Jennifer Savelli in outstanding revival of Cole Porter musical 'Anything Goes.' Photo: Joan Marcus |
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ANYTHING GOES
Kathleen Marshall has again provided the Roundabout with a top-notch musical revival. This time being Cole Porter's Anything Goes. Through her impeccable direction and choreography, she has dusted off this creaky musical and given it a gleaming refurbishing. A first-rate cast headed by Sutton Foster, Joel Grey, John McMartin, Jessica Walter, Colin Donnell, and Laura Osnes, they act, sing, and dance their way into our hearts. Beautifully mounted and designed by Derek McLane (sets), Martin Packledinaz (costumes), and Peter Kaczorowski (lighting), they provide first-class passage for this transatlantic sailing. However, the sailing would be meaningless without Cole Porter's magnificent and memorable score. Each song is a delight and done to perfection. I urge my fellow travelers to make their reservations and book passage as soon as possible and do not let this ship sail without you. (Forgive my metaphor; I just could not resist. That is how good this show is, theater fans.)
STEPHEN SONDHEIM THEATRE, 124 West 43rd Street, (212-239-6200).
www.Roundabouttheater.org
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| POP STAR IS BIG 'BUSINESS': Nick Jonas takes over for Daniel Radcliffe in 'How to Succeed...' Photo: Chris Callis |
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HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING
My admiration and respect go out to Daniel Radcliffe for having the guts to tackle the role of J. Pierrepont Finch in the musical How to Succeed In Business Without Really Trying at the age of only 21. Known around the world for starring in the Harry Potter movies, Mr. Radcliffe is introducing this dated show (though a landmark classic for its day) to a whole new generation of young theatergoers, many of whom would have otherwise missed seeing a great Frank Loesser musical.
The show is extremely book heavy, which by today's standards is rather leaden. What further hampers this musical is the lackluster direction and choreography by Rob Ashford. There is no freshness to the proceedings, which makes the evening even more labored. Even though he is extremely young for the part, thanks to Mr. Radcliffe's charm and charisma, the stage comes to life. The audience embraces him not much for his expertise, but because of his fame and willingness to try something new. The production is also blessed with the presence of John Larroquette as J.B.Biggley, who breezes through his part and has fun with it, which, in turn, entertains us. Finally, there is that wonderful score by Frank Loesser, who also wrote Guys and Dolls. Although a couple of songs are throwaway numbers today, his score set against the corporate world of climbing the ladder of success is still lustrous and a joy for audiences to savor. NOTE: Nick Jonas has taken over for Daniel Radcliffe and Beau Bridges took over for John Larroquette.
AL HIRSCHFELD THEATRE, 302 West 45th Street, (212-239-6200).
www.HowToSucceedBroadway.com
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ORIGINAL DRAMAS & COMEDIES
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| 'SEMINAR': (left to right) Lily Rabe & Alan Rickman in the Theresa Rebeck drama. Photo: Jeremy Daniel |
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SEMINAR
Theresa Rebeck’s new play, Seminar, is an uneven dramedy about four graduates who hire an esteemed former author (now an editor) to evaluate their fiction-writing work. The instructor, Leonard (Alan Rickman), is an alcoholic, self-loathing, caustic, and an expert belittler at the slightest whiff of a work that does not suit him. His four students, Kate (Lily Rabe), Martin (Hamish Linklater), Douglas (Jerry O’Connell) and Izzy (Hettienne Park), each has his or her personal demons, and all have capable writing skills, but in different degrees. The dilemma here is ultimately how much is one willing to sacrifice to become a good writer; how much abuse one can take; how thick is one’s skin; and what sort of pact a neophyte writer is willing to make with the devil to become a famous author.
The raison d’ętre here are the performances. Alan Rickman is sublime as the embittered ex-author with a past. His acid delivery literally scalds. Ms. Rabe is not as compelling as she was as Portia in last season’s outstanding revival of The Merchant of Venice. It’s a tough act to follow, but she is still effective as the privileged, wannabe writer. Hamish Linklater gives a breakout performance as the moody, insecure, impoverished writer. Impressive is Jerry O’Connell as the well-connected writer and Hettienne Park is seductive as the writer who just wants to write in order to make the cover of New York magazine. Unfortunately, the direction by Sam Gold is not sharp or focused enough to give the characters any dynamics other than walking on and off stage, and blackouts between scenes, thus leaving the viewer detached and not really involved with these people.
JOHN GOLDEN THEATRE, 252 West 45th Street, (212-239-6200)
www.SeminarOnBroadway.com
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| MISTRESS & SLAVE: (left to right) Nina Arianda & Hugh Dancy in a compromising position in 'Venus in Fur.' Photo: Joan Marcus |
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VENUS IN FUR
Control, power, dominance all play major factors in David Ives' provocative new dramedy, Venus In Fur.
Who offers it and who uses it? Who ultimately has that power and
control; the submissive who is giving you the power or the master who
has been given that power? Until ultimately the lines become so blurred
and, thus, the power struggle begins. Set in a rehearsal hall, Thomas
(Hugh Dancy), a director and playwright, has auditioned some 35
actresses for the female lead in the play he has written, based on the
classic 1870 erotic Austrian novella Venus in Furs by Leopold von
Sacher-Masoch (the namesake of the term “sadomasochism"). Not one of
the actresses Thomas has auditioned has the qualities for which he is
searching: beauty, grace, strength, power, and a great command of the
English language.
What gives this play its raison d'ętre is the expert performances by its two
leads: Nina Arianda and Hugh Dancy. Not having seen Ms. Arianda play
this part in the 2010Off-Broadway version, my first exposure to her was
earlier this year as Billie Dawn in Born Yesterday. I was
mesmerized by her performance in that show. She took an iconic role that
was so identified for decades with Judy Holliday and, in one evening,
reinvented the part and made it her own, I also felt she was robbed of
the Tony Award. Needless to say, I was very highly anticipating what she
would do next, and the part of Vanda is no exception. She enters as a
disheveled bimbo and, magically in 90 minutes, transforms and exists as
Venus divine. All I can say is Ms. Arianda has the talent and the range
to be a formidable Broadway legend, and let’s hope there are enough
parts to keep her here and not be lured to Hollywood to do movies or
worse yet get stuck in sitcoms. Reopens February 7, 2012 at the Lyceum.
THE LYCEUM THEATRE, 149 West 45th Street, (212-239-6200)
www.ManahattanTheatreClub.com
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| 'OTHER DESERT CITIES': (left to right) Thomas Sadoski & Stockard Channing. Photo: Joan Marcus |
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OTHER DESERT CITIES
Jon Robin Baitz has written an American masterpiece. We are so inundated with British imports and revivals that to finally see an American play earn its rightful place as a superb classic gives any critic a thrill. In addition, it is brilliantly cast with the likes of Stockard Channing, Rachel Griffiths, Stacy Keach, Judith Light, and Thomas Sadoski. Set in Palms Springs in 2004, with all the lovely antiseptic trimmings of a wealthy household, the Wyeth’s house of glass will soon be shattering on Christmas Eve when the daughter Brooke (Griffiths) informs the family that she has written a book detailing her brother’s death. It is a topic in the Wyeth household that is never to be discussed.
The performances by all are outstanding. It is hard to single anyone out because it is an ensemble piece, and each one has a moment of glory. However, Judith Light does stand out because she has the most caustic of lines. My only reservation with the show is a tacked-on epilogue that is so unnecessary that it diminishes the play’s final glorious moments. A director as brilliant as Joe Mantello should never have allowed that final scene. I felt it robbed me of that devastating, theatrical thunderbolt moment that is rarely seen in the theater.
BOOTH THEATRE, 222 West 45th Street, (212-239-6200).
www.lct.org
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| 'HORSE' WITH A HEART: Seth Numrich in 'War Horse.' Photo: Paul Kolnik |
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WAR HORSE
Spectacular is the word to describe Lincoln Center's production of War Horse. It traces the journey of a boy and the horse his father bought from the age of a foal and sold as a stallion to the British cavalry to serve in World War I, and is a story of epic proportions. Essentially it is about the love, trust, and the bond that is formed between them. Their gut-wrenching separation and loss and eventually the odyssey of searching for each other is not a mere boy-meets-horse and boy-loses-horse tale; it is the story of hope, survival, and salvation that is at the core of this saga.
Beautifully mounted with sets, costumes and drawings that depict the horrors of war, all designed by Rae Smith, and the seamless direction by Marianne Elliott and Tom Morris, keep the action moving at a nonstop pace. Seth Numrich as the boy gives a very good performance, but the best and most poignant performances of the evening come from Joey and the numerous men who operate him. War Horse is the must-see event of the spring 2011 Broadway season.
VIVIAN BEAUMONT THEATER, 150 West 65th Street, (212-239-6200).
www.lct.org
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| THE NAME ON EVERYBODY'S LIPS: Latina star Bianca Marroquin takes over as Roxie Hart in 'Chicago.' Photo: Jeremy Daniel |
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CHICAGO
Chicago has now become the sixth- longest show on Broadway, and for good reason. Bob Fosse, Fred Ebb and John Kander helmed one of the most inventive books and scores of a musical. In its original 1976 version, the story got lost in its gaudiness. The look and feel was reminiscent of Pippin, another Bob Fosse musical. It was not the hit it should have been. For economic purposes and what was supposed to be a limited engagement at City Center, the new 1996 version, stripped down to essentials by Ann Reinking and Walter Bobbie, stuck to the story, score, and choreography and turned it into a goldmine, and an occasional A-list artist to goose up the box-office does not hurt, either.
The Ambassador Theatre, 219 West 49th Street, (212-239-6200).
www.chicagothemusical.com
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| LADY SINGS THE BLUES: Montego Glover in 'Memphis'. Photo: Joan Marcus |
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MEMPHIS
Every trite, unimaginative cliche in a musical turns up here. The premise: It is the 1950s, and rebellious, white wannabe DJ stumbles accidentally one drunken night into a Memphis honky-tonk to discover an African-American lady singer-and eventually the love of his life. Memphis is like an interracial version of A Star Is Born mixed with the noble civil-rights sensibilities of Hairspray, minus the irony and the fun. As an added bonus, every major player in the cast gets a center-stage attempt at a show-stopping number that has nothing to do with plot advancement other than to act as a crowd-pleaser. Enough said.
SHUBERT THEATRE, 225 West 44th Street. (212-239-6200.)
www.memphisthemusical.com
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| 1980s JUKEBOX JAM: Constantine Maroulis (center) and cast in 'Rock of Ages'. Photo: Joan Marcus |
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ROCK OF AGES
Did you ever dare dream that one day Constantine Maroulis, an "American Idol" finalist, would be the star of a Broadway musical, and get a Tony nomination for his efforts? Well, boys and girls and aspiring singers/actors, fairy tales can come true. This grab bag of a rock musical can be fun and amusing. Go with low expectations and your rewards will seem greater. This threadbare tale of boy-meets-girl, loses girl, and then finds her again is pasted together with classic songs from such 1980s rockers as Bon Jovi, Styx, Foreigner and Pat Benatar, to name a few. Upon entering the theater and at intermission, you are encouraged to purchase a drink by the staff. Do so. It will not impede your judgment. It will help you tolerate the high decibel level and go along for the ride.
HELEN HAYES THEATRE, 240 W. 44th Street (800-982-2787.)
www.rockofagesmusical.com
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| 'WICKED' PAIR: Witches Glinda and Elphalba in 'Wicked.' Photo: Joan Marcus |
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WICKED
If there were a Tony Award for the use of the color green, this show would have won it hands down. The story traces the paths of Glinda and Elphalba, the Good Witch and the Bad Witch, respectively, before they became the legends they now are in The Wizard Of Oz. The show is so overdone and cutesy that one longs for a cigarette break and an intermission, and I do not even smoke. However, tourists and children will enjoy the mayhem on stage. All that green will envelop them in a haze of hallucinogenic euphoria.
GERSHWIN THEATRE, 222 West 51st Street. (212-239-6200.)
www.wickedthemusical.com
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THE PHANTOM OF THE OPERA
What can be said of this beautiful Andrew Lloyd Webber musical, now in its 22nd year on Broadway? It is truly the last of its kind. The glitz and beauty of a bygone era where no expense was spared can still be seen in a show. The score is lush, with an emotional storyline. The scenery and costumes are ornate and gaudy. May seem a bit dated now for New Yorkers, but for the out-of-towner, it is still a feast.
MAJESTIC THEATRE, 247 West 44th Street. (212-239-6200.)
www.thephantomoftheopera.com
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THE LION KING
Julie Taymor has taken the beloved Disney movie and turned it into a family entertainment for all times. The popular Elton John and Tim Rice score from the 1994 movie is intact, as well as all the lovable characters. The stage dazzles with the lush sets, costumes, and masks. Even a new generation of children and adults can enjoy this opulent musical without having seen the movie.
MINSKOFF THEATRE, 200 West 45th Street. (866-870-2717.)
www.disney.go.com/theatre/thelionking/broadway/
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MAMMA MIA
ABBA songbook reigns supreme here. Thin plotline brings together a memorable evening of delightful fun. Forget about the hokey story. Just go and enjoy the exuberance that is generated on stage. By the finale, you will be dancing in the aisles.
WINTER GARDEN THEATRE, 1634 Broadway. (212-239-6200.)
www.mamma-mia.com/broadway
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JERSEY BOYS
The best jukebox musical ever conceived, thanks in large part to the amazing song catalog of Frankie Valli and The Four Seasons and the seamless direction by Des McAnuff. It highlights the career of this incredible group of the 1960s and 1970s, from their shaky New Jersey beginnings to becoming one of the greatest male pop groups ever. Even if this generation is not familiar with the name "The Four Seasons," the songs and the sounds are legendary. One cannot help but be astounded by their song portfolio.
AUGUST WILSON THEATRE, 245 West 52nd Street. (800-432-7250.)
www.jerseyboysinfo.com/broadway
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MARY POPPINS
I am a strong proponent of Disney musicals, and I do look forward to seeing them converted for the stage. However, the creators of the show (British, I may add) took one of the most sublime original movie musicals ever, and turned it into a hodge-podge mess. One wonders if American hands would have had a gander at its creation whether they could have done a better job. Mel Bourne's choreography is its salvation, and it has a rousing finale, of course.
NEW AMSTERDAM THEATER, 214 West 42nd Street. (866-870-2717.)
www.marypoppins.com
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Broadway show listings are strictly the opinion of the author and do not necessarily reflect the views of StageZine.com. To comment, please e-mail us at editor@stagezine.com to tell us whether you agree or disagree. We love to hear from readers. All shows are reviewed at press previews or post-opening night performances. To list Off-Broadway shows, please e-mail editor@stagezine.com
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