Around Broadway

In 2003, Mark Haddon wrote a well-received novel about a 15-year-old boy solving a mystery that's become a literary staple. But “The Curious Incident of the Dog in the Night-Time” is atypical of the boy-detective form because the boy in Haddon’s novel is atypical. He has autism and experiences the world in a markedly different way from most of us, possessing, among other qualities, a keen visual sense and an aversion to being touched, in addition to the usual challenges of adolescence. Haddon’s novel is now a stage show of the same name adapted by Simon Stephens and imported from London’s National Theater. It's running on Broadway at the Ethel Barrymore Theater and directed by Marianne Elliott. New York Times theater critic Charles Isherwood offers his thoughts on how effectively the story has been translated to the stage and on Alex Sharpe, the young actor straight out of Juilliard who is making his Broadway debut in this production.

Richard Rodgers and Oscar Hammerstein II were riding high in 1947 on the successes of Oklahoma! and Carousel. For their next show they tried something with a Greek chorus and a stage with no sets and few props. The subject matter was unusual, too, a man whose story ends with him in a state of existential confusion. The show, Allegro, was not a hit. But now, director John Doyle has revived Allegro in a production for Classic Stage Company.

Edward Albee’s 1966 play A Delicate Balance won him the first of his three Pulitzer Prizes. It has become one of his most highly regarded and frequently produced works, and returns for its third run on Broadway with one of the season’s starriest casts. 

A musical that spent just a few months on Broadway in 1997 has been re-tooled and returned to the Great White Way. Side Show is based on the lives of Daisy and Violet Hilton, conjoined twins born in Britain in 1908, who became famous on the vaudeville and sideshow circuit there and in the United States in the 1930s.

On Broadway right now at the Neil Simon Theatre is The Last Ship, which might as well be called The Sting Musical, since the pop superstar has contributed not only music and lyrics, but most of the pre-launch publicity. The story is based on the world Sting knew growing up in an English seaside town where life revolved around the local shipyard.

A short Off-Broadway run in 2012 was New York’s introduction to Disgraced. Novelist and screenwriter Ayad Akhtar’s drama is about the stresses placed on an American Muslim man struggling to resolve conflicting world views within himself and among his family and friends. The play now returns to New York, this time on Broadway and with bigger credentials, too, as a 2013 Pulitzer Prize winner.

The hottest-selling show on Broadway this fall is, surprisingly, not a musical. Instead, it’s the revival of Terrence McNally’s 1982 comedy It’s Only a Play, set in a theater producer’s lavish New York apartment where a group of onstage and offstage principals anticipate the reviews after opening night. The reason for It's Only a Play's current ticket craze is the virtually all-star cast: Matthew Broderick is the playwright; Nathan Lane is his best friend; Rupert Grint is the genius director; Megan Mullally is the novice producer; Stockard Channing is the addled leading lady; and F. Murray Abraham is the dreaded newspaper critic.

To say that Tail! Spin! is true to life might be a bit of an understatement. Mario Correa’s play uses words taken from the public record to tell the sex-scandal stories of four politicians: Anthony Weiner, Mark Sanford, Larry Craig and Mark Foley. The four men are played by different actors, but all the women — “wives, tails, beards and Barbara Walters,” as the show’s website puts it — are played by former "Saturday Night Live" cast member Rachel Dratch.

Steve Martin has quite a resume: comic, actor, writer, art collector, banjo player and now, musical book writer and musical theater co-creator. Martin and his collaborator, singer-songwriter Edie Brickell, have written the new show Bright Star, in which we see the lives of two people from the perspective of a couple of different decades in their lives.

In the late 1980s, A.R. Gurney created an unusual play consisting only of a long correspondence between two people. But that play, Love Letters, has endured and has been seen in innumerable regional and amateur theater productions. Perhaps that’s because it’s easy to produce: no chorus lines, no costumes, no need for a balcony or a staircase on the stage set. The text is the lifelong correspondence between a man and woman of the East Coast upper crust and it is read by the actors on a bare stage rather than performed. But perhaps, slight as the work is by some measures, its words are enough to compensate for what it otherwise does not have.

Playwrights Horizons, a New York theater company with a mission devoted to supporting works by American writers, has opened its new season with a bold new play. Bootycandy, written and directed by Robert O’Hara, is a surreal and sexually explicit comedy about growing up black and gay in America. Philip James Brandon stars as Sutter, who grows from boy to man to budding playwright in the course of the play.

The prolific A.R. Gurney is among the playwrights in residence at the Signature Theatre Company this year. The first of three Gurney plays to be presented is a revival of his 1977 play The Wayside Motor Inn, in which 10 characters dealing with various life crises all check in to the same motel outside Boston. The production is directed by Lila Neugebauer.

New York City’s new theater season is a great way to cure those end-of-summer blues. There are plenty of revivals and a few choice new offerings. There are musicals and straight plays. There are star-filled casts and productions in which the play’s the thing. New York Times theater critic Charles Isherwood suggests a few — well, more than a few — shows that are likely to pique the interests of Broadway and Off-Broadway patrons.

Robert Schenkkan’s All the Way, this year’s Tony winner for best play and for its leading actor, Bryan Cranston, was a hefty drama about Lyndon Johnson and the aftermath of the Kennedy assassination. But, in fact, it was only half the story: The Great Society is the name of Schenkkan’s sequel.

Summer is the slow season for Broadway, with few shows opening between the Tony Awards in June and the fall season kickoff in September. But it’s high season for theater festivals. New York Times theater critic Charles Isherwood made a trip to the Stratford Festival in Ontario, Canada, one of the largest festivals in North America.

The nature of intimacy is one of the themes of Laura Eason’s new play Sex With Strangers, in which two writers first get busy and then get to know each other. Olivia is played by Anna Gunn, best-known for her portrayal of Skyler White on the AMC series “Breaking Bad.” Ethan is played by Billy Magnussen, a Tony Award nominee for his portrayal of the last of the four title characters in Vanya, Sonya, Masha, and Spike. There’s also a notable name behind the scene — the director is David Schwimmer, most recognizable from the TV show "Friends."

Your usual beauty contest features a lot of the same elements as this Off-Broadway musical making its return — lots of makeup, form-fitting costumes, noble speeches of rehearsed sincerity, and musical performances. The significant difference in Pageant is what lies beneath; the hyper-feminine contestants are all men. They're vying for the title of Miss Glamouresse and members of the audience help select the winner.

Lili is young, beautiful and married to South Texas magnate Alberto, who never appears on stage in the new Off-Broadway play Mala Herbia by Tanya Saracho, who writes for the HBO series “Looking” and “Girls.” Those who are on stage in this story of a troubled Mexican-American trophy wife include Lili’s housekeeper, stepdaughter by one of Alberto’s earlier marriages and Lili's former lover, Mari. In spite of her name, Lili is the ostensible weed referred to in the play’s Spanish title, but she may not be the most noxious among those planted on stage.

Classical pianist Mona Golabek is a winner of the Young Concert Artists International Auditions and a recipient of the Avery Fisher Career Grant. She is also now a stage performer, telling the story of her mother’s life in the one-woman show The Pianist of Willesden Lane, now playing at 59E59 Theaters.

The title of Brigadoon, the 1947 musical by Lerner and Lowe, refers to a mythical Scottish town that appears for only a single day every 100 years. Though not quite as seldom seen as the town, Brigadoon the musical — the first hit by the team that later created the legendary shows My Fair Lady and Camelot — hasn’t had a Broadway revival in more than three decades. But it has been given a big new production, now extended through Aug. 17, at Chicago’s Goodman Theatre.