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☆ ‘El Otro Oz’ Review: There’s No Place Like (Your Ancestral) Home
  + stars: | 2024-02-01 | by ( Laurel Graeber | ) www.nytimes.com   time to read: +1 min
Every dramatization of “The Wizard of Oz” seems to offer a pilgrimage to the Emerald City. But “El Otro Oz,” the inspired and imaginative interpretation now playing at Atlantic Stage 2, introduces additional journeys that are ultimately more poignant and profound. When I first saw this Latin-flavored retelling of L. Frank Baum’s tale two years ago, I was most impressed by its comic inventiveness. More an admirer of Beyoncé than of merengue, the American-born Dora deeply resents her Mexican immigrant mother’s plans for a quinceañera, the traditional celebration of a girl’s 15th birthday. After she reluctantly dons a voluminous pastel dress for the occasion, Dora wails, “I look like cotton candy!” (Stephanie Echevarria designed the vivid costumes.)
Persons: Oz ”, El Otro, Frank Baum’s, “ El, ”, Oz, Melissa Crespo’s, Mando Alvarado, Tommy Newman, Newman, Jaime Lozano, Dora, Nya, Beyoncé, Dora wails, Stephanie Echevarria Organizations: Atlantic, Atlantic for, Atlantic Theater Company Locations: Emerald City, Chihuahua, Toquito, Oeste, Chicago, American
☆ ‘Days of Wine and Roses’ Review: Romance on the Rocks
  + stars: | 2024-01-28 | by ( Laura Collins-Hughes | ) www.nytimes.com   time to read: +1 min
Seldom have a pair of alcoholics looked as glamorous as they do in Craig Lucas and Adam Guettel’s bruised romance of a Broadway musical, “Days of Wine and Roses,” starring Kelli O’Hara and Brian d’Arcy James as midcentury-modern Manhattan lovers free-falling all the way to hell, drinks in hand. And yet we can sense the allure: how alcohol might become the one true thing that matters, smoldering wreckage be damned. Adapted from JP Miller’s recovery-evangelizing 1958 teleplay and 1962 film of the same name, this “Days of Wine and Roses” is like a jazz opera melded seamlessly with a play. Deeper, wiser and warmer than it was in its premiere at Off Broadway’s Atlantic Theater Company last year, it is no longer so wary of melodrama that it’s afraid of feeling, too. Gone is the emotional aridity that kept the story at a strange remove.
Persons: Craig Lucas, Adam Guettel’s, ”, Kelli O’Hara, Brian d’Arcy James, doesn’t, Michael Greif’s Organizations: Atlantic Theater Company Locations: Manhattan
☆ ‘Buena Vista Social Club,’ a Story of Second Chances, Gets One More
  + stars: | 2023-11-22 | by ( Brian Seibert | ) www.nytimes.com   time to read: +1 min
In 1996, a recording session was scheduled in Havana combining Cuban and Malian musicians, but the Africans had visa trouble and didn’t arrive. So instead, an assemblage of veteran Cuban musicians, some coming out of long retirement, recorded a collection of classic Cuban songs. This was “Buena Vista Social Club,” which became not just the best-selling Cuban album ever but also a defining artifact of Cuban culture beloved around the world. And now, almost 30 years later, there is a stage musical: “Buena Vista Social Club,” in previews at the Off Broadway Atlantic Theater Company. This newest project started a few years back, when a producer with the theatrical rights to the album approached the Cuban American playwright Marco Ramirez (“The Royale”).
Persons: didn’t, Wim Wenders, Marco Ramirez, “, ” Ramirez, ’ Organizations: Buena Vista Social, Carnegie Hall, ”, Broadway Atlantic Theater Company Locations: Havana, Cuban, Malian, Buena, Cuban American
☆ In Annie Baker’s Plays, Pay Attention to the Pauses
  + stars: | 2023-08-30 | by ( Darryn King | ) www.nytimes.com   time to read: +1 min
“She’s a high priestess of silence and stillness,” the director James Macdonald said. An Atlantic Theater Company and National Theater co-production of Baker’s latest play, “Infinite Life,” directed by Macdonald, is in previews now and will open on Sept. 12. “Infinite Life” also goes further than Baker’s other plays in its exploration of stillness, Macdonald said. “I’m interested in silence, I’m interested in noise, I’m interested in speed, I’m interested in stillness. To me it does feel like writing a play feels a bit like composing a piece of music.
Persons: “, James Macdonald, ”, Macdonald, “ Janet Planet, Baker, ” Baker, “ I’m, I’m Organizations: Atlantic Theater Company, National Theater, New York Film
☆ Review: In ‘Days of Wine and Roses,’ Two Souls Lost in an Ocean of Booze
  + stars: | 2023-06-05 | by ( Laura Collins-Hughes | ) www.nytimes.com   time to read: +1 min
If not for the unbridled drinking, it might easily have been a screwball comedy. Just look at them: Kirsten, blondly beautiful with a tolerant smile and a quick riposte; Joe, curly-haired cute but too arrogant to grasp that he’ll have to up his game to win this woman. It can’t be me; you don’t know me.”This is the addiction-canon classic “Days of Wine and Roses,” though, so some of us already know them. In Craig Lucas and Adam Guettel’s jazzy, aching musical based on the teleplay and the film, Kelli O’Hara and Brian d’Arcy James are an awfully glamorous Kirsten and Joe — O’Hara, in exquisite voice, singing 14 of the show’s 18 numbers, seven of them solos. Directed in its world premiere by Michael Greif for Atlantic Theater Company, this “Days of Wine and Roses” fills the old Gothic Revival parish house that is the Linda Gross Theater with glorious sound.
Persons: Kirsten, blondly, “, ”, Miller’s, Piper Laurie, Cliff Robertson, Lee Remick, Jack Lemmon, Joe, Craig Lucas, Adam Guettel’s, Kelli O’Hara, Brian d’Arcy James, Joe — O’Hara, Michael Greif, Linda Gross Organizations: Atlantic Theater Company Locations: New York City, Miller’s
☆ ‘Primary Trust’ Review: Sipping Mai Tais, Until Bitter Reality Knocks
  + stars: | 2023-05-25 | by ( Naveen Kumar | ) www.nytimes.com   time to read: +2 min
(“Primary Trust” doubles as the name of Kenneth’s new employer, and an abbreviated metaphor for what was lost when his mother died.) As in her superstore dark comedy “Paris,” presented by Atlantic Theater Company in 2020, Booth again probes the half-dread of working-class Black characters in a one-freeway-exit corner of the Northeast. And though Kenneth’s Blackness is an underlying aspect of his experience, it is not the acute source of his alienation. Booth’s one-man study is wonderfully vivid, but there’s only so much emotional engagement that the unburdening of feelings, rather than their enactment or discovery, can inspire. Her other characters are far more loosely sketched: Sanders and Matthis turn small roles, rich with concise, sideways detail, into four-course meals, paradoxically making them feel underused.
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