Let’s kick this sucker off with the most recent show to post closing: Bonnie & Clyde. Clearly the ongoing issues Broadway critics have with anything bearing Frank Wildhorn’s name are hanging on like grim death. Last season as you may recall, they nailed his nuevo-pop take on Lewis Carroll’s classic “Alice’s Adventures in Wonderland” (re-dubbed Wonderland) to the marquee of shame (granted it had problems but the costumes and singing was to die for), and now, B&C, with its rather nearly awesome score and impressive actors in the title roles -- Laura Osnes and Jeremy Jordan -- will bite the dust on December 30th.

In all fairness, the well-staged/well-orchestrated musical did hover a little too much on the romance between the two young bank-robbing psychopaths, but it didn’t deserve the drubbing it got. In fact, I found more than a few aspects of it --- including the supporting cast -- both compelling and well drawn. The New York Times assigning of Ben Brantley (in the Broadway scheme of things, Frank Wildhorn’s Moriarity) to cover the show seemed especially cruel. As much as I respect and envy Brantley’s insightful reviews in general, when it comes to Wildhorn I can’t help but think he writes a portion of his eviscerating comments prior to seeing the composer’s project du jour.

I have no problem suggesting you catch B&C in the two weeks that remain on its Broadway plate.

                                                **********************

And I have to say, there are a couple other newish shows gracing the fall-winter season that really deserve attention. Stick Fly, for one with Psych’s Dule Hill is a revelation; playwright Theresa Rebeck’s Seminar with Alan Rickman and Lily Rabe heading an overall excellent cast; and director Michael Mayer’s re-imagined version of Lerner and Lane’s On a Clear Day You Can See Forever (Harry Connick, Jr. & Jessie Mueller) particularly fall into the “must-see” arena.

Off-Broadway -- if you can get tickets (and good luck with that) -- is Classic Stage Company’s incredible production of Chekhov’s The Cherry Orchard starring Dianne Wiest and John Turturro, whose limited run has been extended through January 8th.

And on the quirky, delightful front, you might want to hit NYU’s Skirball Center for the joyful Jewish romp Shlemiel the First – a Klezmer musical based on the play of the same name by Isaac Bashevis Singer.  And, while the entire cast – most of whom play multiple roles – is wonderful, Michael Iannucci in the title role is a major crowd-pleaser, turning in an hilarious and heartwarming performance as the befuddled/intellectually-challenged  hero. (Through 12/31: skirballcenter.nyu.edu)

Posted on December 20, 2011 - by