Tony Award® Nominee Nancy Opel (Urinetown) returns to the New York stage in Curvy Widow. Based on a true story, this sassy and witty musical follows the exploits of a feisty fifty-something whose adventures inspire laughter and, in the least expected places — reveal truths about life, love, and sex. From surviving hilarious first dates, to her intimate conquests, this widow navigates her way through it all with humor and perseverance. Featuring a brilliant cast of best friends, a dead husband, and a myriad of potential suitors — Curvy learns the hard way what it means to start life over in the modern age.
Starring Tony Award nominee Nancy Opel (Honeymoon in Vegas) as Curvy Widow, this sassy, frank, and witty new musical comedy takes audiences through the semiautobiographical adventures of a gutsy, recently widowed 50-something woman as she immerses herself in the modern dating scene. From exploring internet personal ads and surviving hilarious first dates to weighing the pros and cons of married vs. unmarried men, this widow romps her way through it all with humor and perseverance, discovering unexpected truths about love, life, and sex as she goes. Alongside dramatis personae including best friends, a dead husband, and potential suitors, Curvy learns the hard way what it means to start life over in the modern age.
Visit the Curvy Widow website:
Indecent is inspired by the true events surrounding the controversial 1923 Broadway debut of Sholem Asch’s God of Vengeance—a play seen by some as a seminal work of Jewish culture, and by others as an act of traitorous libel. The play charts the history of an incendiary drama and the path of the artists who risked their careers and lives to perform it.
The protagonist of “Indecent,” the powerful new play by Paula Vogel, is not a person but a drama — meaning that this is a play as much about the fate of a play as it is about the lives of the people involved in it. This superbly realized production, created by Ms. Vogel and the director Rebecca Taichman, charts the tumultuous fortunes of “God of Vengeance,” a work by Sholem Asch that caused a scandal when it was produced on Broadway in 1923.
In many respects, “Indecent,” which opened at the Vineyard Theater on Tuesday, could be seen as a Jewish version of the current “Shuffle Along, or the Making of the Musical Sensation of 1921 and All That Followed,” another terrific show about a landmark Broadway production (almost) lost to history.
Thanks in no small measure to Ms. Taichman’s sensitive direction and the forceful performances of its cast — all of the actors play several roles — “Indecent” sheds an eye-opening light on a little-known time when theatrical history, Jewish culture and the frank depiction of homosexuality intersected, with explosive results.
It begins with the arresting image of the cast, clad in drably colored clothing from which ashes fall in thin streams, rising from chairs at the back of the stage and stepping onto a simple wooden platform. This strange vision comes to have haunting significance as the play moves to its dark conclusion.
But at first there is excitement. In their Warsaw apartment in 1906, Sholem (Max Gordon Moore) is reading the play to his wife, Madje (Adina Verson). Her enthusiasm is as much philosophical as personal. She believes that the play captures much about the Jewish culture of the times that needs to be brought into the light: “The roots of all evil: the money, the subjugation of women, the false piety … the terrifying violence of that father,” she says, referring to the central character, a Jewish patriarch, Yekel, who runs a brothel from his basement.
Most of all, she’s touched by a scene in which two young women, the virgin daughter of Yekel and one of the prostitutes who work for him, discover their love for each other during a rainstorm.
Snippets from this scene and another from the original play will unfold before us at various points in “Indecent,” and even seen in small doses, they retain a remarkable power. The encounter between the two women — portrayed, in their characters as actors, by Ms. Verson and Katrina Lenk — has a tender poetry that clutches the heart more than a century later.
At a reading at a literary salon, the reaction is not universally laudatory. “You are pouring petrol on the flames of anti-Semitism,” fumes one participant, outraged at the depiction of Jews as “pimps and prostitutes.” This will turn out to be an accusation that dogs the play, even as it finds initial success.
Others are more impressed. Lemml, played with gentle ardor by Richard Topol, is a tailor from a shtetl. Entranced by the play, he becomes the stage manager when it is produced in Berlin, with the famed actor Rudolph Schildkraut (Tom Nelis) starring.
“Indecent” makes deft use of projections to indicate whether the language being spoken is English or German or Yiddish, or when a “blink in time” occurs, and the action fast-forwards. It may sound complicated, but as engineered by Ms. Taichman, these transitions are always bell-clear. Despite the complex plot, “Indecent” has been shaped by its creators with unusual finesse, using techniques associated with Brecht.
Occasionally interrupting the narrative are klezmer-flavored songs and music by Lisa Gutkin and Aaron Halva, who play instruments and are active participants in the action. The fluent choreography, by David Dorfman, also contributes to the almost cinematic flow.
When, after making a splash in several European cities, “God of Vengeance” comes to New York, it is initially successful when first presented in Yiddish. The trouble comes when the commercial theater beckons. The producer Harry Weinberger (Steven Rattazzi) decides to present an English translation at the Provincetown Playhouse that eliminates the lesbian love subplot, to the dismay of Dorothee (Ms. Lenk), who now plays the role of the prostitute, and other cast members who have lived with the play and its characters in their hearts.
“God of Vengeance” then moves to Broadway, and under the glare of the attention it receives, comes under fire from both the arbiters of Jewish culture in the city and the authorities, who arrest the cast and producer on charges of obscenity.
Ms. Vogel’s script is not entirely free of necessary but still blunt expositional passages, or the occasional polemical touch. In a sermon denouncing the play, a rabbi sarcastically says, “Perhaps, decades from now, two Jewish women will be able to exchange vows.” Then he adds, “Perhaps pigs will fly.” The knowing chuckle this speech earns is probably not worth the sacrifice of subtlety — or probability. (I did, however, like the too-funny-to-spoil variation on the phrase, “When the going gets tough, the tough get going.”)
“Indecent” becomes diffuse as Ms. Vogel’s plot grows more complicated, following the fate of the play and its performers, as well as the experience of Asch, who falls into a depression after a return visit to Europe, during which he witnesses alarming signs of rising anti-Semitism. He and Madje eventually move to Staten Island, where he concentrates on writing novels.
In “Indecent,” the fate of “God of Vengeance” doesn’t end with the scandal surrounding the trial. Among the many productions we see re-enacted, the most disturbing occurs later, in Poland, when the Jewish community in the Lodz ghetto is facing the impending horror of the Holocaust. With Lemml still acting as stage manager, the actors use makeshift props and perform in an attic, since a public presentation would be unthinkable.
There is only time to present one act each week. In an especially heartbreaking line, as they prepare to stage the second act, Lemml says, “Last week we presented Act I, and, God willing, next week we will still be here to perform Act III.”
What follows? The rain falls, the two lovers embrace, but we never get to see a scene from the last act again.
A theater review on Wednesday about “Indecent,” at the Vineyard Theater in Manhattan, referred incorrectly to the character Lemml. He is the cousin of a character named Nakhmen, not a cousin of Sholem Asch.
Tony®-winning director Bartlett Sher and the team behind South Pacificand The King and I bring a fresh and authentic vision to this beloved theatrical masterpiece from Tony winner Joseph Stein and Pulitzer Prize winners Jerry Bock and Sheldon Harnick.
The original production won ten Tony Awards, including a special Tony for becoming the longest-running Broadway musical of all time—and now you can be there when the sun rises on this new production, starring Tony nominees Danny Burstein and Jessica Hecht with stunning movement and dance from acclaimed Israeli choreographer Hofesh Shechter, based on the original staging by Jerome Robbins. A wonderful cast and a lavish orchestra tell this heartwarming story of fathers and daughters, husbands and wives, and the timeless traditions that define faith and family.
Featuring the Broadway classics “To Life,” “If I Were a Rich Man,” “Sunrise, Sunset,” “Matchmaker, Matchmaker” and “Tradition,” Fiddler on the Roofwill introduce a new generation to this uplifting celebration that raises its cup to joy! To love! To life!
“GENUINELY ALL-AGES ENTERTAINMENT! THE GUY BEHIND ME WAS HELPLESS WITH LAUGHTER!”
– The New York Times
“UNPREDICTABLE AND OVERWHELMINGLY ENJOYABLE!” – Talkin’ Broadway
“A MASH UP OF NANCY DREW AND CLUE!” – Daily News
“DOWNRIGHT HILARIOUS!” – Huffington Post
“A LEGITIMATE PHENOMENON!” – Variety
America’s longest-running play, SHEAR MADNESS, is now knocking ‘em dead in New York at New World Stages! The madness erupts at your not-so-typical hair salon, when suddenly the old lady upstairs gets mysteriously murdered and everyone’s dying to know WHODUNIT? The audience combs through the clues, questioning the suspects like a bona fide “Shearlock Holmes.” Theatermania declared “An absurdly enjoyable, uproarious experience! A killer time will be had by all!” And the best part? It’s different every time you see it.
Jan thru Feb 28, 2016 – Mon 7 ● Wed, Thurs, Fri 8 ● Sat 2 & 8, Sun 3 & 7:30
Starting Feb 29, 2016 – Mon 7 ● Wed 8 ● Thurs 2 & 8 ● Fri 8 ● Sat at 2 & 8 ● Sun 3
Running Time: 2 hours, including 1 intermission
$39.50 (Reg. Price: $79.50)
THREE EASY WAYS TO BUY:
PHONE: Call (212) 947-8844 and mention code SGSHMD3950
IN PERSON: Bring a printout of this offer to the New World Stages box office:
340 West 50th Street (between 8th & 9th Aves)
Tickets regularly $79.50. Offer valid on performances through 9/4/16. Blackout dates may apply. All prices include a $2 facility fee. All sales are final – no refunds or exchanges. Offer subject to availability and prior sale. Not valid in combination with any other offers. Normal service charges apply to phone and internet orders. Performance schedule subject to change. Offer may be revoked or modified at any time without notice.
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New World Stages, ● TelechargeOffers.com
(212) 947-8844 ● Groups (10+) 212-757-9117 ● ShearMadness.com
Brad Zimmerman may well have brought many of us a salad or a mac and cheese once. Now, in “My Son the Waiter: A Jewish Tragedy,” he brings us the story of his failure, and it’s pretty delicious. As Mr. Zimmerman admits, a typical proud mom might brag about her son vacationing in the Caribbean or buying a big, new house; his mother has to tell her friends, “If all goes well, Brad is buying a bookcase.”
The low-key Mr. Zimmerman, who waited tables in New York for almost three decades while planning to become a famous actor, proves in this solo show that we have yet to hear every variation on a would-be actor’s struggles or a Jewish mother’s disappointment. His topics are a mix of the familiar and the mordant, with jokes about plane travel, supermodels on talk shows, his uneventful love life, a reality-show concept that involves a Kardashian and a sniper, and how gentile mothers react when their sons have to break dinner dates with them (“O.K.”).
Not all of the material is exactly exclusive. When he recalls a diner asking him the difference between the Bordeaux and the Côtes du Rhône, you know he’s going to answer, “About a dollar.” But much of this amiable 90-minute set is distinctly original and bittersweetly on target. After Mr. Zimmerman adjusted his career focus, taking a class in stand-up comedy when he was in his 40s, he became the opening act for major stars including George Carlin and Joan Rivers.
About an hour into the show, there’s a powerfully poignant riff about Mr. Zimmerman’s long-dead father that could make Billy Crystal cry. Near the end, Mr. Zimmerman verges on sharing more than everybody may want to know about his psyche. The demons or angels that drove Mr. Zimmerman to keep plugging away all those years are interesting, but we don’t need to know his process; we just enjoy reaping the benefits.
“It Shoulda Been You” is awfully funny. That’s strange, because there’s nothing especially clever about this musical comedy by Brian Hargrove (book & lyrics) and Barbara Anselmi (music), helmed by David Hyde Pierce in his Broadway directorial debut. The characters are broadly caricatured comic types you might find at a sitcom wedding (overbearing Jewish mother, high-strung bride, alcoholic mother of the groom, flamboyantly gay wedding planner, etc.), and instead of saying “Comedy Tonight!” the music says “Take a Nap!” But with impeccable instincts for finding their laughs, Hyde Pierce and his terrific ensemble players make this hokum seem terribly amusing.
Bright lights go up on a staging area in the elegant hotel where the lavish Steinberg/Howard wedding will be held that afternoon. It will serve as the bedrooms of members of the wedding party, along with the beauty salon, various service areas and the ladies room where the bride tries to hide when she gets cold feet. Anna Louizos’ two-tiered stage is designed for farce, providing plenty of doors to slam, closets to jump out of, and toilet stalls to throw up in, once the wedding preparations become complicated.
A smartly staged opening number introduces the hackneyed characters and the super character actors who almost convince us that they’re fresh and funny. There’s the battle-ax mother of the bride (Tyne Daly, our queen of comedy), the bride’s beleaguered father (Chip Zien, a perfect piece of casting), the groom’s lush of a mother (Harriet Harris, always amazing), the groom’s stern father (Michael X. Martin, kinda stiff), the best man (Nick Spangler, nothing special) and the best woman (Montego Glover, very special), the gay-as-a-goose wedding planner (Edward Hibbert, as we know and love him), a couple of hotel staffers (Adam Heller and Anne L. Nathan, reliable old pros), and, of course, our bride (the stunning if undervalued Sierra Boggess) and groom (hunky David Burtka).
At the calm center of all the chaos is the bride’s older, unmarried sister, Jenny, a “big-boned girl” as the euphemism goes, played with as much heart as humor by Lisa Howard, who delivers a strong belt and deserves her moment in the sun after all the replacement jobs she’s had. And look! Here comes the bride’s geeky ex-boyfriend, played by Josh Grisetti, a perfectly wonderful physical actor who also deserves a break, after Neil Simon’s “Broadway Bound,” in which he starred, was unforgivably killed in rehearsals. (According to the actor’s wistful Playbill bio, “Although no one saw it, Josh was brilliant. … “)
All these pros are punching well below their weight, but how grateful we are for that.
The comedic complications to this perfect wedding are all the expected ones: cultural tensions between the bride’s Jewish family and the groom’s family of goys; the re-appearance of the bride’s unwanted ex-boyfriend; the mishap that “ruins” the bridal gown, etc. But at the end of the first act — or what would be the first act, if this overly long one-act comedy took the needed break — there’s an unexpected plot twist that promises to be a real game-changer.
But instead of leading to a sharper, wittier kind of comedy, this interesting plot development is frittered away on more inane musical numbers. Serious rescue actions are best handled by Howard, who gives a perfectly lovely, polished performance as the older sister who’s sick and tired of being treated like a jolly servant (“Jenny’s Blues”) and wants people to stop fixating on her weight and see her beauty (“Beautiful”). Boggess gets her moment late in the show with a solo ballad (“A Little Bit Less Than”) that respects her gorgeous voice, if not her intelligence.
Hargrove is also in on the rescue detail with out-of-the-blue lyric zingers that harvest their laughs from comfortable fields of corn. When the bride is having a meltdown in the ladies room, her sister hands her a pick-me-up with the inspired lyric line: “Every bride deserves / A Vicodin for nerves.” In “Where Did I Go Wrong?” the mother of the groom enumerates all her tricks (like taking him to “everything Sondheim” to encourage any latent gay-ness) to keep her baby boy at home. And Daly’s mother of the bride teaches Harris’ mother of the groom her own secret weapon for cutting down her enemies by being “Nice.”
But let’s face it, these actors know how to get a laugh even when they don’t have a laugh line. (Grisetti cracks us up just by flashing a maniacal grin as he scoots across the stage on a scooter.) And they have a kindred spirit in Hyde Pierce, who has always gotten maximum comic mileage out of a minimalist gesture like a raised eyebrow or a side glance.
Seriously, it’s OK to laugh — although you may hate yourself in the morning.
STOMP, the international phenomenon, celebrated 20 years at New York’s Orpheum Theatre in 2014.
Created and directed by Luke Cresswell and Steve McNicholas, STOMP is the winner of
London’s Olivier Award, New York’s Obie Award, an Outer Critics Circle Award for Unique
Theatrical Experience, and a Legend of Off-Broadway Award. Cresswell and McNicholas
received an Oscar nomination for the short film Brooms and an Emmy for the HBO Special
Stomp Out Loud. The New York Times calls STOMP “Exuberant!” Brilliant!” and “A sure-fire crowd pleaser!”
STOMP began as street performance and went on to become a world-famous show and an
unmistakable part of popular culture with a sound, look and attitude all its own. Part of the fabric of New York’s theatre landscape, STOMP has been called “a sure-fire crowd pleaser with a rock-and-roll heart” by the New York Times, and been seen by 25+ million people in 40+ countries. STOMP has performed everywhere from The Acropolis to The Academy Awards.
It has been parodied on The Simpsons, been an answer on “Jeopardy!,” jammed with Mister Rogers and The Muppets, and collaborated with stars ranging from The Rolling Stones’ Ron Wood to Paul Simon.
The show continues to wow audiences worldwide with its unique combination of theatre,
dance, comedy and percussion. In addition to the New York show, STOMP is running in
London’s West End, and on North American and European tours.
Visit http://www.stomponline.com for US information and http://www.stomp.co.uk for news on the London and European companies. The Orpheum Theatre is located at 126 Second Avenue between 7th and 8th Streets. Tickets are available through Ticketmaster.com or by visiting http://www.stomponline.com
SAVE OVER 25% ON TICKETS
“A MUST-SEE!” – WABC
“HEARTFELT & DEEPLY MOVING! With humor and a hopeful note, Tom Dugan’s 90-minute play makes history come alive.”-Huffington Post
“POWERFUL & INSIGHTFUL! These stories are heartbreaking and beautiful.”
– The New York Times
SEE WHAT CRITICS ARE RAVING ABOUT!
$49* Special Offer For Performances Thru 2/22 (reg. $69)
Online: TelechargeOffers.com and use code: TRLSP49
Call: (212) 947-8844 and mention code: TRLSP49
Visit: and bring a print out to the Theatre Row box office. Open at noon every day.
Celebrate the Holidays at Wiesenthal: CLICK HERE FOR FAMILY FOUR PACK OFFER
“4 STARS! HAIL TO A MENSCH! For a man who devoted his life to hunting down Nazi war criminals, Simon Wiesenthal was quite the cutup. That’s but one of the revelations of Wiesenthal, who became known as “the Jewish James Bond” for his obsessive pursuit that brought 1,100 war criminals to justice. “Wiesenthal” succeeds with skill and unexpected humor in bringing its heroic figure to life!” – NY Post
“The amazing story of one man’s journey to find justice. EVERYONE SHOULD SEE IT!”- John Hamburg, WABC
“This heartfelt, engaging piece transcends dramatized history by capturing the showman’s flair of Simon Wiesenthal.”- Time Out New York
PERFORMANCE SCHEDULE: Mon: No Show, Tue: 7pm, Wed: 2pm & 8pm, Thu: 7pm, Fri: 8pm, Sat: 2pm & 8pm Sun: 3pm
SPECIAL THANKSGIVING WEEK SCHEDULE: Mon: 7pm, Tue: 7pm, Wed: 2pm & 8pm, Thu: Thanksgiving (now show) Fri: 8pm, Sat: 2pm & 8pm, Sun: 3pm
ACORN THEATRE at THEATRE ROW, 410 West 42nd St (between 9th & 10th Ave)
*Valid for performances thru 02/22/15. Reg. $69. Prices include a $1.25 facility fee. Blackout dates may apply. Schedule and cast subject to change. Offer subject to availability. Normal service charges apply to online and phone orders. No exchanges or refunds. All sales are final. Cannot be combined with other offers. Not valid for prior purchases. Limit of 8 tickets per order. Offer may be revoked at any time.
Soul Doctor Tickets & Information
Actors Temple Theatre
339 West 47th Street
Between 8th and 9th Avenue
New York NY 10036
Soul Doctor is an exhilarating musical journey through the triumphs and tribulations of a cultural phenomenon. It tells the fascinating story of the father of popular Jewish music, Shlomo Carlebach, and his unlikely friendship with Nina Simone.
A modern-day troubadour, Shlomo ignited the spirit of millions around the world with his soul-stirring melodies, transformative storytelling and boundless love. After his escape from Nazi Germany, the young Rabbi befriended the legendary jazz singer Nina Simone who introduced him to soul and gospel music. With the “High Priestess of Soul” as his inspiration, Shlomo created a joyous new sound with melodies that fused his roots with American popular music.
With his meteoric rise as a “Rock Star Rabbi,” he struggled to harmonize his traditional beliefs with the “free love” generation of the 1960s. Today, his uplifting music and message help to define America’s most defiant era.
Soul Doctor Creative Team
Author: Daniel S. Wise
Music & Additional Lyrics: Shlomo Carlebach
Lyrics: David Schechter
$59.50 – $69.50 (Ticket prices include a $2.00 Facility Fee.)
Children under the age of 4 are not permitted in the theatre.
|First Preview Date||Opening Date||On Sale Through|
|November 26, 2014||December 14, 2014||May 3, 2015|
Box Office Hours
Opens 45 minutes prior to the performance.
Tickets are also available at St. Luke’s Box Office, 308 West 46 Street
(between 8th & 9th Aves).
St. Luke’s Box Office Hours:
Monday: 2pm – 7pm
Tuesday: 2pm – 7pm
Wednesday : Noon – 8pm
Thursday: 2pm – 6pm
Friday – 2pm – 8pm
Saturday: Noon – 8pm
Sunday: 1pm – 7pm