A Strange Loop
And yet, it seems as if there is no measure of praise that could be too much; after all, this is a show that allows a Black gay man to be vulnerable onstage without dismissing or fetishizing his trauma, desires and creative ambitions. Now that’s some radical theater.
"I hope that this happens so much and so often that critics no longer feel the need to use the word “radical” when they see the men they take the subway with, the men they see in their delis, and the men they run into in bookstores, also turn up on stage."
"A timely and gorgeously sung Broadway revival of the 1998 musical.
You do not expect the star of a musical about a man lynched by an antisemitic mob to be his wife. Especially when that man [...] is played, with his usual intensity and vocal drama, by Ben Platt. Yet in the riveting Broadway revival of the musical “Parade” [...], it’s Micaela Diamond, as Lucille Frank, you watch most closely and who breaks your heart. With no affectation whatsoever, and a voice directly wired to her emotions, she makes Lucille our way into a story we might rather turn away from."
"With a cast as fine as it is large, led by Ben Platt and Micaela Diamond – two of the best singers currently on Broadway – Parade, set in 1913 Georgia, scores its topical points with all the artistry and theatrical know-how to meet and exceed its noble intensions. Parade is as commanding as any musical revival to hit Broadway in years."
"Now comes a new special on the menu: the ravishingly sung, deeply emotional and strangely hilarious “Sweeney” revival that opened on Sunday at the Lunt-Fontanne Theater. Starring Josh Groban and Annaleigh Ashford, and directed by Thomas Kail, it has a rictus on its face and a scar in its heart."
"The new Broadway revival of 'Sweeney Todd,' the ghoulish marvel of a musical comedy that may represent the greatest achievement of composer and lyricist Stephen Sondheim, reaches a deliriously mad peak just when it should, as the bloodlust of the title character, played by the pop phenomenon Josh Groban, unites with the desperate pragmatism of the pie-making Mrs. Lovett, embodied with hilarious zest by Annaleigh Ashford."
The Piano Lesson
"Wilson’s usual signatures are here, including the somber subject matter related to Black disenfranchisement, prejudice, history and trauma — paired with witty, casual dialogue and flights into the surreal. Wilson makes poetry out of the mundane minutiae of daily African American life without forgetting how the past is present, alive and immediate like the melody of a song played by a piano that seems to have sprung to life."
"[There] are masterful performances by April Matthis, whose Grace understands how to navigate between what she wants and what is projected onto her, Ray Fisher’s hilariously sweet, though not too bright, Lymon, and Michael Pott’s caught up in his sour regrets Wining Boy."
"Yes, it’s cutesy and cliché-ridden but this soppy story left me moist-eyed."
"Amélie's unabashed bid to bring joy, promote everyday kindness and rekindle hope couldn’t be more pertinent."
This Beautiful Future
"This Beautiful Future” achieves a remarkable, aching alchemy, not because Elodie and Otto are star-crossed but because they’re ordinary, and because if not for the war, they might have retained their innocence."