Broadway 3-Peats: The Gerald Schoenfeld Theatre

Recently, we started a series of Broadway 3-peats, celebrating artists who we think had three great successes in a row. We will be continuing that series, but today we are starting a similar series aimed at all of you Broadway show and theater lovers (just like us). We will highlight 3 shows in a row that we loved - no skipping - that played the same theater. 

Broadway 3-peats:

Gerald Schoenfeld Theatre

1. Life of Pi (2023)

All three of the shows on my list today were based on another art form - books, films, a recording - that I was largely unaware of prior to seeing the show on Broadway. Life of Pi was the one I knew least about, so most of it was a complete surprise to me. But what made this first of three in a row so wonderful to me was the sheer theatricality of the piece. The staging, the lighting, the projections were all exciting. But it was the performances - human and puppet - that will always stick with me. Seeing it come to life right in front of me was a thrill I don't think I'll ever forget. That tiger, and that "boy" were absolutely spectacular!

(Review HERE.)

2. The Notebook (2024)

I may have been the only person in the Schoenfeld who had only read the book and had never seen the film. Well, I read the book years ago, and so the events of the show were practically new to me, so it held more than a few surprises for me. I was excited to hear a new score by a new composer and one of my favorite music performers, Ingrid Michaelson, and I was really looking forward to seeing several of my favorite performers, including Ryan Vasquez, Joy Woods, John Cardoza and the always amazing Maryann Plunkett. All of them were thrilling, as was the entire company. Though I loved all three of the shows mentioned today, this was my sentimental favorite. 

(Review HERE.)

3. Buena Vista Social Club (2025)

The newly minted Grammy-winning show was perhaps the biggest surprise of all. Who knew the story behind an album I'd never heard of before - and entirely sung in Spanish - could be so compelling? Led by Tony-winner Natalie Venetia Belcon and the Special Tony-winning band, this show was a non-stop feast for the ears and eyes. And that made it three in a row for the Schoenfeld!

(Review HERE.) 

2023 in Review: Our Favorite Productions

Before we sign off for 2023, Mike and I thought we'd weigh in on our favorite productions that we saw over the past twelve months. Overall, the shows we loved far outweighed those we didn't. That said, there were those we felt were the cream of the cream of the crop. Here they are:

2023 in Review:

Our Favorite Productions

(6 Categories)

Favorite New Musical

What we said: & Juliet is proudly, unabashedly a jukebox musical. Heck, there's an actual jukebox center stage and spotlighted at the start and the finish of the show! And just when I was ready to write off such fare, along comes this perfect gem of a show. The entire enterprise has elevated the genre and is now the gold standard of catalog musicals. Everyone involved should be proud. Grade: A+

Favorite New Play

Mike:

What we said: So rarely does a play receive such rave reviews as Leopoldstadt. Even more rarely does a production so fully deserve such accolades.This one is as advertised. It is a masterpiece. Grade: A+

Jeff:

What we said: When people ask me why I love theater as passionately as I do, I answer by talking about shows like Life of Pi. Nothing compares to seeing such artistry and sharing a deeply human experience happening right in front of you. Grade: A+

Favorite Revival

Jeff:

What we said: There simply aren't enough adjectives or words that even do justice to the magnitude of this production. All I can think of is "thank you." Grade: A+

Mike:

What we said: This is not a Sweeney for the faint of heart. And it just builds from there. Part psychological thriller, part horror show, part musical comedy, this production embraces all of it. It is traditional yet acutely modern. The result is one of the top theater experiences I've ever had. Grade: A+

Favorite Off-Broadway Production

What we said: The Encores! presentation of The Light in the Piazza is the perfect example of the joy and pain of the ethereal nature of the art form we love so much. It's that "capturing lightning in a bottle" thrill of witnessing a once in a lifetime moment, savoring the memory of it, and lamenting that it'll never happen again. Grade: A+

Favorite Regional Production

What we said: Pacific Overtures is a stunning classic, rarely performed, and perhaps underappreciated. True, it isn't for the faint of heart, and you need to bring your "A" game to fully understand it as an audience member. But, when there's as glorious a production as Signature Theatre's current revival, it is most definitely worth the extra effort. Grade: A+

Most Disappointing Production

What we said: They say in the show that well-behaved princesses rarely make history. Neither do rotten musicals. If pop hits and girl power re-write is what you need, head over to the Sondheim and grab tickets for & Juliet. Grade: F

2023 in Review: The Final Tally

Over the course of our yearly review, we honored 19 of the 21 productions we saw in 2023. 90 acknowledgements were made and here's how they broke down by show:

Shucked 12

& Juliet 10

Parade 10

Sweeney Todd 9

Here Lies Love 8

The Light in the Piazza 8

Bad Cinderella 5

Life of Pi 5

Bob Fosse's Dancin' 4

Pacific Overtures (Signature Theatre) 4

Back to the Future 3

Leopoldstadt 2

New York New York 2

Sunset Boulevard (Kennedy Center) 2

The Gardens of Anuncia 2

A Beautiful Noise 1

Camelot 1

Once Upon a One More Time 1

The Play That Goes Wrong (Kennedy Center) 1

Thank you all for joining us this year. We wish you all the very best for a happy, healthy and theatrical new year!

REVIEW: Life of Pi

Review of the matinee performance on Saturday, April 1, 2023 at the Gerald Schoenfeld Theatre in New York City, NY. Starring Hiran Abeysekera. Featuring Brian Thomas Abraham, Rajesh Bose, Avery Glymph, Mahira Kakkar, Celia Mei Rubin, Salma Qarnain, Sathya Sridharan, Daisuki Tsuji, and Sonya Venugopal. Based on the novel by Yann Martel. Adapted by Lolita Chakrabarti. Original music by Andrew T. Mackay. Scenic and costume design by Tim Hately. Puppeteer and movement direction by Finn Caldwell. Puppet design by Nick Barnes and Finn Caldwell. Video and animation design by Andrzej Goulding. Lighting design by Tim Lutkin. Sound design by Carolyn Downing. Direction by Max Webster. 2 hours, 10 minutes, including one intermission.

Grade: A+

I went into Life of Pi knowing nothing about it - I haven't read the book, nor have I seen the film version. I'm not sure that matters because I understand that there are some big differences between all three, but at least I had the element of surprise. This production is a brilliant mix of enthralling storytelling and stunning theatricality. As the story (adapted by Lolita Chakrabarti) unfolded, you could hear a pin drop, and you could sense the entire audience leaning forward so as to soak it in that much deeper. Almost as one, we went along with this fantastic tale of brutal survival and wonder, laughing, gasping...feeling. It is of great credit to director Max Webster that all of this riveting drama feels simultaneously epic and intimate.

The blank canvas set designed by Tim Hately is a magical box that transforms from a hospital room into a zoo, a crowded Indian street, a cargo ship, and, of course, a lifeboat. What is amazing about this though, isn't so much that there are so many varied settings, but rather how they seem to appear out of thin air. One imagines that the scene changes are as well choreographed as any dance number. Aided by the sumptuous lighting (designed by Tim Lutkin) and the superlative video and animation (designed by Andrzej Goulding), the theater becomes a storm tossed expanse of ocean. Seriously, it looks so real (from the mezzanine, anyway) that it wouldn't have surprised me at all if a sea spray shot out into the house. Andrew T. Mackay has scored the evening with a heart-pounding, evocative vibe that heightens everything.

The entire company of actors contributes in a myriad of roles and as extraordinary puppeteers. What a truly extraordinary and gifted group they are. There are a variety of puppets here. They play an orangutan (and her baby), a giraffe, a zebra, a sea turtle, a goat, a school of fish, and a scary hyena. These are not Lion King left overs; no, these are amazingly realistic, so much so, that many times I didn't even "see" the puppeteers. Finn Caldwell's meticulous design and breathtaking movement direction makes these creations come to thrilling life. But it is the Bengal tiger, humorously named Richard Parker, that steals the show. Voiced by Brian Thomas Abraham and played by eight ensemble members at various times, the animal is as real as possible, alternately terrifying and fascinating. There simply aren't words to adequately express the sheer beauty of this performance.

As a framing device, the play begins, refocuses the story, and ends with an urgent interview of Pi, the sole survivor of a shipwreck. As the interviewers, Daisuki Tsuji and Celia Mei Rubin (in her debut in the role), are intense and sympathetic, depending on their needs at any given moment. Mr. Tsuji is as uptight as one might expect from an insurance adjuster; the way he portrays the singularity of his business focus is maddening. Contrast that with Ms. Rubin's portrayal of a Canadian diplomat, whose warmth and empathy offers a comforting relief to all of us, including Pi. Other standouts include the aforementioned Mr. Abraham as the rough, crude ship's cook, and Mahira Kakkar and Rajesh Bose as Pi's parents, are all adults in the 17 year-old's life, and each perfectly captures the extremes of their personalities as told through the filter of a teenager.

There is a miraculous performance happening at the Schoenfeld, and that is from the utterly captivating Hiran Abeysekera. People will be talking about this star-turn for years. His athleticism is impressive (and exhausting even to watch). He charms with humor, frightens with careless bravado, and melts the heart with a self-awareness that, as acted, feels as though it is actually happening to him for the very first time. Blissfully brilliant - the actor, the character, the production.

When people ask me why I love theater as passionately as I do, I answer by talking about shows like Life of Pi. Nothing compares to seeing such artistry and sharing a deeply human experience happening right in front of you. 

📸: M. Murphy & E. Zimmerman

Looking Forward to Spring: March - May 2023

Alright, so winter doesn't officially start for three more weeks, but we're going to go ahead and call it early. Just like it always does, Broadway is beginning to fill its empty theaters with new shows to entertain, provoke and move us. And we are so excited to see many of them! Our goal is to see every new musical in each season, meaning the list below is musical-heavy, but beyond this period, we have several plays we are looking at for the summer.

Of course, before we look ahead, we like to review the recent past. Over the winter months we were very fortunate to have seen several wonderful shows, and only one real clinker. Though we didn't make it back to Harry Potter, we did make another visit to Kimberly Akimbo, which was as brilliant as ever! We also saw & Juliet (A+), A Beautiful Noise (D+), Leopoldstadt (A+), and The Kennedy Center's Sunset Boulevard (A+) for an average of A. Not bad at all!

Looking Forward To Spring:

March - May 2023

BROADWAY:

Bad Cinderella (Broadway - Imperial Theatre) Despite, or maybe because of, the vitriol of certain social media influencer wannabes, I'm looking forward to seeing this! The cast looks fun, and the snippets I've seen look pretty neat-o. True to my word, I'm going into this looking forward to a new musical where anything is possible.

Camelot (Broadway - Vivian Beaumont Theater) Any time Bartlett Sher helms a new Lincoln Center revival, it is cause to be excited. I'll admit this is not my favorite classic, but if anyone can get me to love it, it is Sher. Add to it the stunning, sexy and young principals (Andrew Burnap, Phillipa Soo  and Jordan Donica), and I am ready to be transported!

Dancin' (Broadway - Music Box) If you've been following my blog for any length of time, you know I am obsessed with anything Bob Fosse. In fact, the 1st National Tour of Dancin' was my first brush with his genius. Needless to say, I'm really looking forward to seeing what original cast member-turned-revival director Wayne Cilento has done to bring this piece back to life. 

Life of Pi (Broadway - Gerald Schoenfeld Theatre) Okay, I am more interested in how this play will be done than what it is about. Actually, I know nothing more about this work (in any form) than what can be gleaned from the logo. The pictures I've seen of it look enchanting. I have a feeling seeing it happen live will only intensify the thrill!

Shucked (Broadway - Nederlander Theatre) The season's biggest question mark for me, on paper this looks absolutely ridiculous. But I've been won over by equally silly on paper shows (Urinetown, Xanadu). Frankly, I think their ad campaign is a riot - they know what they have and are really into the silliness. Jack O'Brien parading around Times Square dressed as an ear of corn is an image one won't soon forget. And have you seen their music video for the song "Maybe Love?" It gives me confidence in the quality of the writers.

Sweeney Todd (Broadway - Lunt-Fontanne Theatre) Even more than Fosse, I am truly a Sondheim fanatic, and Sweeney Todd is my absolute favorite of his shows. The cast and creative team have me really excited to experience the thriller of all musicals. I don't know who I'm most excited to see - Josh, Annaleigh, Ruthie, Jordan? Heck, it's the entire company! 

REGIONAL:

Pacific Overtures (Signature Theatre, Virginia) The mid-Atlantic's foremost interpreter of the works of Stephen Sondheim, Virginia's Signature Theatre is bound to put on a thrilling production of this regrettably rarely done piece. Catch their recently posted video of the song, "Someone In a Tree." If that's any indication... 

Spamalot (Kennedy Center - Eisenhower Theatre) If I'm being completely honest, one of the biggest reasons we got a Kennedy Center subscription for the Broadway Center Stage series was to see Kiss of the Spider Woman. And frankly, Spamalot is not really any sort of equal trade off. So, why does it still make our "looking forward to" list? Well, I like to give shows a second chance. Who knows? Maybe I'll like it better this time! But really, the initial casting has me intrigued. Alex Brightman, James Monroe Iglehart, Leslie Rodriguez Kritzer and Rob McClure are all on my "actors to see no matter what" list. Even as I type this, I'm getting excited!

Before the Tonys, we'll also be seeing Parade, Fat Ham and New York, New York, and I don't know about you, but this summer is going to be hot with new shows!!

2022 - 2023 Logos: Leopoldstadt and Life of Pi

These days, generating interest in plays, even those that make it to Broadway, is a challenge, to say the least. Even more challenging is promoting a play that has no stars over the title. And that is not a guarantee, either. 

Today, we take a closer look at the show art for two new plays on the Great Bright Way: Leopoldstadt and Life of Pi. Both are new works, both are London imports, and both in their own way are epic, event plays. The former represents a generational reckoning and religious awakening by one of the world's greatest playwrights. The latter is a spectacularly theatrical treatment of a popular novel and acclaimed film. Those pedigrees may get regular theatergoers in the seats, but to sustain a run, both need a marketing plan that sells their acclaim and content. That plan begins with the logo.

Leopoldstadt:

Before it even arrived at the Longacre Theatre last fall, Tom Stoppard's semi-autobiographical play was the buzziest play of the season. Heaps of awards, and tales of SRO crowds on the West End certainly created an urgency to purchase tickets. Not long after tickets went on sale, the limited engagement was extended by several months (currently through July 2) and ticket prices soared. Ticket demand is steady, but nowhere near its initial hype. So now marketing must now sustain it until awards season (it's a shoo-in for tons of nominations) gets things cooking again. 

As far as the key art goes, it is definitely eye-catching and tells a lot about the piece, even if one knows nothing about it. The title icon is lovely, striking black lettering against a homey, sepia toned stained glass styled background. The title font suggests an Old World European feel, while the plain, all-caps font of the names is positioned to be noticed, but not more so than the title. It also feels more modern than the title, subliminally suggesting a more current bent in contrast.

The photographic element of the whole poster, a black and white photo of a boy from another time points up the historic element of the play. He's playing Cat's Cradle, a key symbol in the performance, and a thoughtful way to represent the interweaving of the generations - a never-ending loop of twists and turns. 

The logo is attractive, makes you think and is just mysterious enough that it might make tourists consider buying a ticket.

Grade: A

Life of  Pi:

Another award-winning play from London, Life of Pi, is probably the better known property of the two, but it may still be a hard sell. True the title is known to artier film aficionados and contemporary readers. But is it mainstream enough for the general public, and exciting enough without being a musical? Will fans of the movie wonder if the stage version can capture the breathtaking special effects of the film? Well, I'm thinking there was a reason why later in the London run, the advertising included exciting production photos...

Is the Broadway production team thinking the title alone will get people in the seats? Are they counting on word-of-mouth from London? Or are they not wanting to give away any of the visual surprises of this epic play? A little of all three would be my guess.

What they came up with is certainly bright enough to make the eye take a closer look at it. Bright ocean blue with bright yellow lettering is tried and true; a recent tenant of that same theater ran for years with the same color scheme. The font is bold and simple, drawing the eye just long enough to read the title and then look more closely at the image above.

Glittering stars, a bright full moon, all shimmering on the water together creates a feeling of fantasy and a vastness. A single image on that vast seascape - a lifeboat with a single boy and a sleeping tiger - also suggests the fantastic, but also a feeling of loneliness, and maybe even some danger. It certainly makes you stop and think. If you get lost in the fantasy, you might buy a ticket just to see what it's all about. And you might be interested if you've read the book or have seen the movie. Put me in the fantasy camp - I know almost nothing about the work - but at the very least, I'm excited to see just how it will be presented. Of course, I'm not the typical theatergoer. I see lots of things and am willing to try something unknown.

Still, I can't help but wonder if some of the production photos might not do more to capture a bigger audience.

Grade: A-