Archives for June 2013

Here’s my list of recommended Broadway, off-Broadway, and out-of-town shows, updated weekly. In all cases, I gave these shows favorable reviews (if sometimes qualifiedly so) in The Wall Street Journal when they opened. For more information, click on the title.

BROADWAY:

• Annie (musical, G, some performances sold out last week, reviewed here)

• Matilda (musical, G, all performances sold out last week, reviewed here)

• The Nance (play with music, PG-13, closes Aug. 11, some performances sold out last week, reviewed here)

• Once (musical, G/PG-13, most performances sold out last week, reviewed here)

• The Trip to Bountiful (drama, G, closes Sept. 1, reviewed here)

• Vanya and Sonia and Masha and Spike (comedy, PG-13, remounting of off-Broadway production, closes Aug. 25, most performances sold out last week, original production reviewed here)

OFF BROADWAY:

• Avenue Q (musical, R, adult subject matter and one show-stopping scene of puppet-on-puppet sex, reviewed here)

• The Fantasticks (musical, G, suitable for children capable of enjoying a love story, reviewed here)

• The Weir (drama, PG-13, closes Aug. 4, reviewed here)

CLOSING SOON IN WASHINGTON, D.C:

• The Real THing (drama, PG-13, adult subject matter, closes July 7, reviewed here)

CLOSING SOON OFF BROADWAY:

• Far From Heaven (musical, PG-13, adult subject matter, closes July 7, reviewed here)

CLOSING NEXT WEEK IN ARLINGTON, VA.:

• Company (musical, PG-13, adult subject matter, closes June 30, reviewed here)

CLOSING NEXT WEEK IN RED BANK, N.J.:

• Present Laughter (comedy, PG-13, adult subject matter, closes June 30, reviewed here)

CLOSING SUNDAY OFF BROADWAY:

• The Caucasian Chalk Circle (drama with music, PG-13, reviewed here)

• 3 Kinds of Exile (drama with music, PG-13, reviewed here)

“He had been weak enough to let himself be influenced by Jack’s dismay at the childish omen, and by the young man’s death; and although this was in some ways the easiest of his important missions he had a premonition of disaster. He wondered at it, and at his own attachment to life. There were so many exquisite things in it–the smell of the clean sea, the golden light of the westering sun, to say nothing of an eagle soaring on the wind. His strength was not as great as he had supposed.”
Patrick O’Brian, The Surgeon’s Mate

Jascha Heifetz plays the Chaconne from Bach’s D Minor Partita:

(This is the latest in a series of arts-related videos that appear in this space each Monday and Wednesday.)

“Now when the fiddle sang at all it sang alone: but since Stephen’s departure he had rarely been in a mood for music and in any case the partita that he was now engaged upon, one of the manuscript works that he had bought in London, grew more and more strange the deeper he went into it. The opening movements were full of technical difficulties and he doubted he would ever be able to do them anything like justice, but it was the great chaconne which followed that really disturbed him. On the face of it the statements made in the beginning were clear enough: their closely argued variations, though complex, could certainly be followed with full acceptation, and they were not particularly hard to play; yet at one point, after a curiously insistent repetition of the second theme, the rhythm changed and with it the whole logic of the discourse. There was something dangerous about what followed, something not unlike the edge of madness or at least of a nightmare; and although Jack recognized that the whole sonata and particularly the chaconne was a most impressive composition he felt that if he were to go on playing it with all his heart it might lead him to very strange regions indeed.”
Patrick O’Brian, The Ionian Mission

From 2003:

A drama critic who spends most of his evenings covering Broadway and off-Broadway openings tends to forget that most of the plays being staged in New York on any given night are performed in tiny little theaters consisting of a ratty lobby, a smallish rectangular performance space whose ceiling, walls, and floor are painted black (hence the name “black-box theater”), and an even smaller backstage area (often indistinguishable from the hall). Such places are typically situated on blocks so unfashionable that you look twice at your appointment book to be sure you’ve come to the right place. Then you climb up a flight or three of stairs, settle into a creaky old theater seat, and wait to see what happens next. Often it’s painfully earnest. Sometimes it’s downright awful. Every once in a while, though, the black box turns into a time machine in which you spend an hour or two exploring a parallel universe of the imagination, and when the lights come up again, you remember why you love theater, and why the waitress who served you brunch in between callbacks loves it, too….

Read the whole thing here.

“The band was deep in a minuet, a Clementi minuet in C major that Jack and he had arranged for violin and ‘cello, one that they had often played together; and now that he was in it, in it for the first time as a dancer, the familiar music took on a new dimension; he was part of the music, right in its heart as one of the formally moving figures whose pattern it created–he lived in a new world, entirely in the present.”
Patrick O’Brian, The Surgeon’s Mate

Alan Bennett discusses The History Boys on Theater Talk:

(This is the latest in a series of arts-related videos that appear in this space each Monday and Wednesday.)

“Because, sir, teaching young gentlemen has a dismal effect upon the soul. It exemplifies the badness of established, artificial authority. The pedagogue has almost absolute authority over his pupils: he often beats them and insensibly he loses the sense of respect due to them as fellow human beings. He does them harm, but the harm they do to him is greater. He may easily become the all-knowing tyrant, always right, always virtuous; in any event he perpetually associates with his inferiors, the king of his company; and in a surprisingly short time alas this brands him with the mark of Cain.”
Patrick O’Brian, The Ionian Mission