The Best Shows of 2016: Part I

As we approach the end of a calendar year which has seen plenty of political upheaval and more than a few untimely celebrity deaths, it feels even more necessary to remember all the good that 2016 had to offer. On this blog, that means looking back on the best shows of 2016, those productions which moved, challenged, and entertained us while also showcasing the abundance of talent in New York City.

In order to be eligible for inclusion, a production must have had its official opening night in 2016, and it must have been seen by yours truly. And since I have neither the means nor the time to see everything which premieres in a given year, there will obviously be some worthy omissions from this list, so don't take a show's exclusion as indication that I didn't like it. (Except Falsettos; while I don't think it's a bad production, I honestly don't understand why this clunkily constructed musical is causing such a fuss among critics.)

Here are the first 5 of my Top 10 Shows of 2016; the rest will follow shortly!

10) Eclipsed

Lupita Nyong'o and Zainab Jab in the Broadway production of Eclipsed.

The 2015-2016 Broadway season was heralded for its diversity, both onstage and off, and there were few more compelling examples of that diversity than Eclipsed. Written, performed, and directed by women of color, Danai Gurira's play brought a fresh and authentic perspective to the story of women struggling to survive during the Liberian Civil War. And while the women's circumstances were often harrowing and deadly serious, Gurira's play was also incisively funny and ultimately hopeful, refusing to allow its characters to become victims of their circumstances. Expertly portrayed by stunningly accomplished group of actresses (including Oscar-winner Lupita Nyong'o in a thrilling Broadway debut), the wives at Eclipsed's center emerged as powerful and intelligent women who each found their own ways of coping with the horrors which surrounded them. It demonstrated just how much giving underrepresented perspectives a voice can invigorate the American theatre, and one can only hope that Broadway will continue to support this kind of probing work.

9) In Transit

Margo Seibert, Moya Angela, and the company of In Transit.

Every year I seem to have a soft spot for at least one show that is dismissed by critics and the audience at large. And while In Transit is by no means the best show I've ever seen ignored by the theatre community at large, it has a lot more to offer than most reviews would lead you to believe. For one, the a cappella score lends the musical a sound unlike any other, a deceptively complex composition with multi-layered harmonies and carefully crafted vocal lines. The performances are all charming, and the characters show us an underexplored facet of the human experience: the transition from the idealistic, impassioned twenties to the more measured but no less intense thirties. The show's New York specific humor and beast of a score will like hold this show back from having much of a life outside of the city, which is unfortunate but perhaps fitting for a show where the setting is as much a character as any of the people in the narrative.

8) The Woodsman

The Off-Broadway company, both human and puppet, of The Woodsman.

At some point, almost everyone who sees enough theatre will start to decry the lack of originality, bemoaning the abundance of "safe" productions with traditional structures and narratives. Shows like The Woodsman prove there is still plenty of invention to be found for those willing to seek it out, offering one of the most thrillingly theatrical experiences of the year. Using very little dialogue, this one-act prequel to the Wizard of Oz was story theatre at its best, utilizing sound, puppetry, and wildly inventive stagecraft to tell the story of how the Tin Man lost his heart. The seamless ensemble, led by the show's writer and director James Ortiz, transported the audience to a dark yet entrancing corner of the merry old land of Oz while tapping into primal emotions which transcend mere words. Thankfully this delightful production was recorded for posterity, and can be streamed right now from BroadwayHD.

7) American Psycho

Benjamin Walker (center) and the cast of American Psycho.

One of the most divisive productions of the year, those who saw American Psycho either really loved it or really didn't. I happen to fall into the former category, being completely smitten by how brazenly the show flaunted the conventions of Broadway to tell the story of ladder climbing serial killer Patrick Bateman. Benjamin Walker was absolutely sensational as the murderous title character, creating a perfectly controlled facade only to let it crumble piece by piece as Bateman became more and more detached from reality. How this actor failed to score a Tony nomination is beyond me, but it is one of the great oversights of the 2016 awards season. Combine Walker's excellence with stunning set and projection design, pitch perfect satire of 80s consumerism (embodied to perfection by Morgan Weed's delightfully shallow Courtney), and a pulsating electronic score by Duncan Sheik and you have one of the most memorable musicals of the year. A show that deliberately pushed so many buttons was always facing an uphill battle towards commercial success, but this wonderfully inventive show has all the makings of a cult hit that will be discovered and loved by theatre aficionados for years to come.

6) Natasha, Pierre, and the Great Comet of 1812

Josh Groban and the Broadway cast of Natasha, Pierre, and the Great Comet of 1812.

Honestly, I would have loved to rank this as the best show of the year, as I did the Off-Broadway production in 2013. Unfortunately, the Broadway transfer of Dave Malloy's 19th century Russian fantasia Natasha, Pierre, and the Great Comet of 1812 isn't quite as magical in its bigger home, but it remains one of the most jaw-droppingly inventive musicals of the decade. Once again director Rachel Chavkin and set designer Mimi Lien have created an immersive world for this sung-through tale of intrigue and seduction to take place in, utilizing every available inch of the heavily renovated Imperial Theatre to further the illusion of being in a different time and place. The score is a dizzying collection of seemingly disparate elements, effortless interwoven by Malloy to create something wholly original and unlike anything to grace the Broadway stage. The performances are all quite good, including recording superstar Josh Groban in his Broadway debut. Perhaps most exciting of all is the fact that such innovation is being rewarded not just with critical praise but packed houses, which will hopefully encourage even more musical experimentation in the future.

Be sure to check back at the end of the week for my Top 5 Shows of 2016!

Deep Beneath the City, Lives are "In Transit"

Review: In Transit

The cast of In Transit.

While musical theatre has always been a collaborative art form, seeing four credited writers on the new a cappella musical In Transit does raise the fear that too many cooks will spoil the proverbial broth. Thankfully, like the artful vocal arrangements that permeate the show, the varied sensibilities of the show's writing team seamlessly blend into a harmonious whole, creating a vibrant and exciting tapestry that mimics the hustle and bustle of the New York City subway system.

In Transit follows the interconnecting lives of various New Yorkers trying to find their footing in a city that can seem overwhelming and uncaring, but is also alive with an unending supply of hopes and dreams. There's Jane, the 30-ish actress working a temp job while still pursing her big break. And Nate, an ex-finance guy who has gone from the lavish excesses of Wall Street to struggling to make ends meet. Trent and Steven are a loving gay couple trying to figure out how to break the happy news of their engagement to Trent's conservative mother. And poor Ali is struggling to move on with her life after being dumped by the guy she relocated across the country for.

Anyone who has been young in New York will instantly recognize these people, connecting with their plights in ways that may be uncomfortably real at times. Creators Kristen Anderson-Lopez, James-Allen Ford, Russ Kaplan, and Sara Wordsworth - who jointly share the book, music, and lyric credits - imbue each character with recognizable foibles and that peculiar mix of gumption and slight delusion necessary to survive in the Big Apple. The network of connections between the characters (Trent is Jane's agent, who begins dating Nate, who is Ali's brother) never feels forced, especially since the real New York is a city of equally convoluted relationships. You get the distinct impression that every character in the show is based on either a member of the writing team or one of their close friends, lending everyone a truthfulness that is refreshing in a sometimes stilted medium. These characters are neither living out Cinderella-style fantasies nor Shakespearean tragedies, but a charming blend of big and small victories and defeats that defines city life.

The show's book is heavy on NYC references, giving it a charming specificity which may also limit its appeal. Even among New Yorkers, more recent city transplants might not understand the special place Dr. Zizmor holds in long-time residents' hearts, or exactly why Trent and Steven are busy on the last Sunday in June. But even if the specifics confuse the tourists that have become Broadway's lifeblood, the character's emotions are universal and remain crystal clear throughout. For a show written by four people, everything feels remarkably of the same voice, with more unity and cohesion than some shows with writing teams half the size. The intermissionless 100 minutes does feel a tad long, and the narration provided by a subway denizen known only as Boxman seems extraneous, but overall In Transit is solidly constructed from beginning to end.

The a cappella score is similarly impressive, covering a wide range of musical styles and genres while maintaining a cohesive sound. Deke Sharon, the prolific a cappella arranger most famous for his work on the Pitch Perfect films, perhaps plays things a tad too safe with his choices, but there is a fullness to his work which really helps the score sing. The songs are well written, catchy, and expertly convey the uncertainty but growing maturity of your late twenties/early thirties.

The cast is brimming with talent, producing a cadre of fine performances with nary a clunker in the bunch. Margo Seibert is positively winsome as Jane, who is slowly realizing her big break may never come but also refuses to let the pressures of the real world totally snuff out her showbiz dreams. Justin Guarini and Telly Leung are both quite affecting as Trent and Steven respectively, with Guarini's late in the game performance of the song "Choosing Not to Know" perhaps the show's most touching moment. James Snyder takes the least sympathetic character of the bunch, obnoxious Wall Street broker Nate, and believably humbles him throughout the evening as he struggles to get back on his feet. Erin Mackey is charmingly neurotic as Ali, and big-voiced Moya Angela makes quite the impression in multiple roles, particularly during her rousing rendition of "A Little Friendly Advice," which will have you cheering even if the song's sentiment seems designed to make you uncomfortable.

Everything is kinetically staged by three-time Tony-winner Kathleen Marshall, whose choreographic background helps keep all the bodies moving in interesting ways even if the amount of pure dance is minimal. She makes excellent use of Donyale Werle's subway platform set, which is bisected by a conveyor belt which doubles as the subway train and a handy way to move the various set pieces on and off the stage. Everything is gorgeously lit by Donald Holder, and while the contemporary setting doesn't give costume designer Clint Ramos much chance to show off he does manage to sneak in a gloriously whimsical dress made entirely from Metrocards.

One hopes that the Great White Way can continue to support shows like In Transit, which in its own way manages to be somewhat revolutionary in both form and subject matter. There are plenty of shows about idealistic youths pursuing their dreams, and perhaps even more about disillusioned forty and fifty-somethings, but In Transit tackles the often underrepresented period between those two dramatic goldmines. Solidly constructed, lovingly staged, and expertly performed, In Transit is the kind of delightful mid-sized musical Broadway could use more of.

Most Anticipated Shows of Fall 2016

It's hard to believe, but it is already mid-September, which means that the 2016-2017 Broadway season is about to get started in earnest. This fall sees 15 plays and musicals debuting on the Great White Way, and while I am a firm believer that there is an audience for every Broadway show, certain productions obviously appeal more to my tastes than others. So here, in no particular order, are the 5 shows I am most excited to see this fall:

Falsettos

Christian Borle, Stephanie J. Block, and Andrew Rannells will be taking on the leads in the Broadway revival of William Finn's Falsettos.

I will admit that a lot of my excitement for Falsettos stems from the fact everyone else is so excited. I'm not at all familiar with William Finn's breakthrough Broadway musical, so I don't share the enthusiasm of folks who grew up listening to the cast album. In fact, I'm actually not the biggest fan of Finn's work, having only truly enjoyed his oddball, semi-autobiographical Off-Broadway gem A New Brain. I also have major reservations about Christian Borle in the lead role of Marvin, as I have found his past two Broadway performances insanely irritating and full of selfishly bad acting habits.

That said, I *adore* both Stephanie J. Block and Andrew Rannells, who are playing Marvin's ex-wife and his current boyfriend respectively. And as a gay man living in New York City, I find myself more and more interested in what the gay experience was like for previous generations. The fact that Falsettos resonates so strongly with so many gay men also piques my curiosity, so I'm hoping this is a production that causes me to reevaluate my feelings about both William Finn and Christian Borle as artists.

Preview begin September 29th, Opening Night October 27th

Natasha, Pierre, and the Great Comet of 1812

Recording star Josh Groban makes his Broadway debut in the highly anticipated transfer of the groundbreaking Natasha, Pierre, and the Great Comet of 1812.

Natasha, Pierre, and the Great Comet of 1812 is, quite simply, one of the most innovative, exciting new musicals of the past decade. I absolutely adored the Off-Broadway production of David Malloy's genre-bending pop opera, having seen the show 3 times and naming it the single best piece of theatre I saw in 2013. I'm absolutely thrilled that it will reach a wider audience through its Broadway transfer, and sincerely hope the show is a runaway success which encourages more experimental musicals to make the leap to Broadway.

I cannot wait to see how director Rachel Chavkin has reconceptualized her immersive, in the round staging to work in a more traditional theatrical setting. I also cannot wait to see what newcomer Denee Benton does with the title role, which introduced the world to the incomparable talents of Phillipa Soo before she shot to stardom in a little musical called Hamilton. (Fun fact: Soo's work in Natasha directly led to her casting in the Broadway blockbuster, as Lin-Manuel Miranda offered her the role of Eliza Hamilton after being floored by her performance as Natasha). This is probably the show I am most excited about for the fall.

Previews begin October 18th, Opening Night November 14th

In Transit

In Transit looks to make history as the first a capella musical on the Great White Way.

I'm not quite sure what In Transit will actually look like, which is part of what has me excited to see it. An a capella musical about the lives of contemporary New Yorkers set during their daily subway commute, this show is being performed in the round at Broadway's Circle in the Square Theatre. I have a large amount of respect for director/choreographer Kathleen Marshall, who has produced some of the most inventively staged musical numbers of the past two decades. I am also highly intrigued by the fact that Oscar-winning Frozen cowriter Kristen Anderson-Lopez will be making her Broadway debut with this piece along with 3 other first-time composer/lyricist/bookwriters. The show could end up being an unwieldy mess, but the show has ambition, something Broadway could always use more of.

Previews begin November 10th, Opening Night December 11th

Dear Evan Hansen

Benj Pasek and Justin Paul's first rate Dear Evan Hansen will premiere at Broadway's Music Box Theatre this fall.

Along with Natasha, Pierre, & the Great Comet of 1812, this is the show I'm most excited about for the fall season. A wholly original musical from the same songwriting team behind the surprisingly endearing A Christmas Story, Dear Evan Hansen was already a Broadway caliber production when I saw it at Second Stage earlier this year. The music is gorgeous, the book is solid, and the performances are top notch, including award worthy work from Ben Platt and Rachel Bay Jones as the titular Evan Hansen and his mother, respectively. In a world with more and more film adaptations and corporate-minded Broadway shows, Evan Hansen is a beacon of light that will not only restore your faith in the Broadway musical as an art form, but make you excited for what's next. I can't wait for more people to get the chance to experience it.

Previews begin November 14th, Opening Night December 4th

The Present

Oscar-winner Cate Blanchett makes her long-awaited Broadway debut in The Present, a new adaptation of a little-seen Chekov play.

Two words: Cate Blanchett. As far as I'm concerned, the two-time Oscar-winner is one of the most gifted actresses around, instantly raising the prestige level of any project she's attached to. I can't wait to see her bring her magnetic presence and dynamic acting style to this new adaptation of the lesser known Chekov play Platonov, and the fact that this marks Blanchett's long-awaited Broadway debut makes the production all the more buzz-worthy. I do worry that the show itself will prove a bit esoteric for my tastes, but the prospect of seeing Blanchett work her magic live overrides any trepidation I might have.

Previews begin December 17th, Opening Night January 8th


Those are my most anticipated shows of the fall season; let me know yours in the comments!