Mama I’m a Big Girl Now!, the new musical entertainment at New World Stages, seems so eager to race to the exclamation point that it’s even missing a comma. The show wants to spread exuberance, excitement, and joy. It mostly succeeds.
It may be an overgeneralization, but let’s put it out there: In stage comedies, the more the cast laughs at its own purportedly hilarious exploits, the less the audience does. The onstage hollers and whoops are frequent and loud in The Z Team, Jeff and Jacob Foy’s workplace yuk-fest at Theatre Row, and while some of the audience seemed to enjoy it, those seated in E1 and E2 barely cracked a smile.
Loneliness and pandemic: two words that soared in usage in 2020 and 2021, when the COVID lockdowns kept people apart from their friends, family and regular activities. That pandemic is not the one playwright Olivia Haller references in the title Loneliness Was a Pandemic. Her occasionally thoughtful but not fully engaging drama (in which the word pandemic is never said) is concerned with another topic that’s been top of mind over the past few years: artificial intelligence.
Given recent electoral events it doesn’t require a huge imaginative leap to envisage a dystopian United States in the “not-so-distant future.” That future is when Amy Berryman’s philosophical, sci-fi–infused play Walden, which premiered on London’s West End and now comes to Second Stage Theater, takes place, depicting a world wrecked by climate catastrophe, human folly, and rapaciousness.
It’s a fallacy that addiction can be cured by a stint in rehab. Anyone celebrating sobriety can affirm that the process of recovery takes decades—and is often lifelong. Nevertheless, a rehab experience can trigger a life-changing awakening. This unpredictable process is at the center of Spike Manton and Harry Teinowtiz’s Another Shot, a poignant exploration of Teinowitz’s alcoholism and treatment. Director Jackson Gay keeps the play teetering between denial and acceptance, and between comedy and tragedy.
Here There Are Blueberries, a 2024 Pulitzer Prize finalist by Moisés Kaufman and Amanda Gronich, explores the idea that a picture can speak a thousand words. The play has been created using “historical artifact, interviews conducted with real people, historical transcripts, and other primary sources.” Centered on an album of photos that was meant to be destroyed, the play asks whether the side of those who commit atrocities in history should also be shown.
During the Holocaust, the atrocities of the Nazi regime forced countless Jewish families and individuals into hiding. Though they were not interned in concentration camps, these stowaways were subjected to another, silent, reign of terror—in which every creak and cough could result in discovery, detainment, and almost certain death. Thus, the scene is set for The Hidden Ones, an immersive theater production that brings audiences into the secret hiding place of two families at the end of World War II
