Anyone who has aspired to a career as an actor is likely to have experienced alternating emotional states—sometimes elation, frequently sadness—that accompany success, or the lack of it. Philippa Lawford’s thoughtful, often intense play Cold Water explores the way that youthful aspirations, tempered by reality, can elicit angst, confusion, anger, and occasionally relief, with varying impact, on two people at a British middle school.
Inspired by a true story, Max Mondi’s Maybe Tomorrow is a new drama that pushes the envelope on what it means to get stuck in the present. Directed by Chad Austin, this play takes a deep dive into mental illness and more.
Peter Danish’s Last Call is a fairy tale with heroes, villains, operatic emotions, and a countertenor. It’s a three-actor play set in the magical kingdom of classical music during the era of two potentates, Herbert von Karajan (1908–89) and Leonard Bernstein (1918–90), who reigned supreme in concert halls and recording studios around the world for much of the 20th century.
A one-man Uncle Vanya could easily have come off as a stunt. How do you turn an Anton Chekhov staple, one that has visited New York stages multiple times in the past few seasons alone, into a solo show, and an utterly new experience? But Vanya turns out to be good theater and, more surprisingly, very good Chekhov.
Every unhappy family is unhappy in its own way, Leo Tolstoy famously wrote in his opening line of Anna Karenina, and Joshua Harmon shows that every unhappy family member is unhappy in her own way in We Had a World, his stirring new play that gets at universal truths through a very personal story.
The Jonathan Larson Project arrives Off-Broadway like a breath of fresh air. Conceived by Jennifer Ashley Tepper and directed by John Simpkins, this musical memorial presents all those unheard pop songs and numbers from unfinished musicals that were left behind when Larson, the beloved creator of Rent, died suddenly at the age of 35 of an aortic dissection.
For decades the Harold Rome–Jerome Weidman musical I Can Get It for You Wholesale has been known primarily for putting Barbra Streisand on the map. In 1962 many critics found protagonist Harry Bogen, a young Jewish hustler in New York City’s garment trade in 1937, too unlikable, even though Pal Joey and its caddish hero had succeeded in various Broadway productions. But timing also played a part. John Chapman in the Daily News noted that “his success, unlike Robert Morse’s genial villainies in How to Succeed [at a nearby theater], leaves a bad taste.” In the New York Times, Howard Taubman complained that the book was not “uplifting.” Now that antiheroes are commonplace, however, Wholesale deserves another look, and the Classic Stage Company’s loving revival (with a book updated by Jerome’s son John Weidman) provides evidence that it’s an overlooked gem.
