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.
Sholom Aleichem, the famous Yiddish writer, satirized and chronicled Jewish life in the late 19th and early 20th centuries. The story of Tevye the dairyman, perhaps the best remembered of Aleichem’s works, and on which the musical Fiddler on the Roof is largely based, is being reprised by the National Yiddish Theater-Folksbiene in Yiddish—a production that premiered to acclaim before the pandemic and has now returned.
