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    Stephen Sondheim’s ‘Old Friends’ Review: A Broadway Party With 41 Songs

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    Bernadette Peters and Lea Salonga lead the festivities in a new Broadway revue of the great musical dramatist’s work.Fast approaching the number of musicals Stephen Sondheim wrote is the number of revues written about him. The first, to my knowledge, was a 1973 fund-raiser held on the set of the original production of “A Little Night Music.” It featured so many stars, speeches and songs that even truncated, even then, its recording filled two LPs.I snapped that album up and wore it out. The cover alone was fascinating, with the titles of nine of his shows spelled out in intersecting Scrabble tiles. (Something like nine more shows were to come before his death in 2021 — and one after.) Threaded through those tiles like a secret theme was Sondheim’s name itself.I was younger then, a teenager, but that secret theme became part of my life’s music.How then to hear a new Sondheim revue with fresh ears and fresh heart? As the latest, “Old Friends,” says right in its name, we are already well acquainted.Whether onstage, online, in cabarets or, like “Old Friends,” on Broadway, all such compendiums play their own game of Sondheim Scrabble. Though there are many hundreds of songs in the catalog, compilers must pick from the same limited subset of favorites, arranging them in various concatenations and outcroppings. Occasionally a 10-point rarity turns up, but most of the choices are deeply familiar to those who have followed the man’s work.Peters and Jacob Dickey in the “Hello, Little Girl” number from “Into the Woods.”Sara Krulwich/The New York Times“Old Friends,” which opened on Tuesday at Manhattan Theater Club’s Samuel J. Friedman Theater, is in that sense a lot like its predecessors. The 41 numbers it features come from the main pool, with an emphasis on songs from “Sweeney Todd,” “Merrily We Roll Along,” “Company,” “Follies” and “Into the Woods.” Most of them were brilliant in their original context; many remain so outside it. Some are sung spectacularly by a bigger-than-usual cast of 17, led by Bernadette Peters and Lea Salonga. Others are middling, a few are misfires.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: In ‘Eureka Day,’ Holding Space for Those You Hate

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      A hilarious new Broadway production asks: Can the superwoke vaxxers and anti-vaxxers at an elite private school learn to get along?Just in time, laughter is making a big comeback on Broadway. Better yet, it comes in several varieties.For catty yowling, check out Megan Hilty and Jennifer Simard, wringing necks in “Death Becomes Her.” For helpless giggles, there’s Cole Escola as that cabaret legend Mary Todd Lincoln in “Oh, Mary!” And if you enjoy the hysteria of family fireworks, “Cult of Love” should leave you gasping.But the funniest character now on Broadway isn’t even a human being — or not exactly. Getting the biggest belly laughs in Jonathan Spector’s “Eureka Day,” which opened on Monday at the Samuel J. Friedman Theater, is a yellow thumbs-up emoji.The emoji appears — chipper then aggravating then weirdly insidious — in a livestream meeting of parents and executive board members at Eureka Day, an upscale private school in Berkeley, Calif. As Don, the principal, tries to handle a looming crisis, using every banality at his new-age disposal, the conversation in the chat veers correspondingly out of control. His attempt to “unpack” issues calmly has instead disgorged a torrent of personal attacks, vulgar language and childish invective. By the end of the scene, the third of the play’s quick seven, the thumb seems like a different finger entirely.Spector’s hilarious poison-pen satire of educational wokeism has led us to that point with great care. A Manhattan Theater Club production, directed bracingly by Anna D. Shapiro, it begins, in 2018, with a kind of dramaturgical canapé to whet our appetites for the main dish. As the lights come up on the school’s bright library, prominently featuring a social justice collection, Don (Bill Irwin) is leading the board in a discussion about a proposed addition to the drop-down menu on the prospective parent application. Should it include “transracial adoptee” as an option among the many other ethnic identities offered?The point is argued with elaborate courtesy bordering on incomprehensibility. Meiko (Chelsea Yakura-Kurtz) says “the term itself is not offensive,” but Suzanne (Jessica Hecht) thinks it might be offensive “when you contextualize it in that way.” Eli (Thomas Middleditch) feels that failing to add the term would amount to a kind of erasure, given that “our Core Operating Principle here is that everyone should Feel Seen by this community.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Rachel McAdams Is Not Afraid of the Dark

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      The actress makes her Broadway debut in “Mary Jane” as the single mother of a seriously ill child. She views her acting choices as expanding her orbit.From the outside, you wouldn’t know that Rachel McAdams, the thoughtfully charming star of blockbuster rom-coms, rom-drams, a Marvel franchise and the Oscar-winning “Spotlight,” has been wondering about death.Maybe it has to do with the therapist who said that her indecisiveness and deep curiosity about seeing through someone else’s eyes, which she’s harbored since childhood, could be chalked up to something called “death anxiety.”McAdams had long viewed her acting choices as expanding her orbit. “It’s been a way to live a lot of lives in one,” she said. If that was about a fear of dying — well, it didn’t rattle her.Instead, characteristically, she embraced it. “We don’t have a lot of great coping mechanisms for death in our culture,” she said. “So, yeah, I kind of welcome the opportunity to lean into that — earlier rather than later. Let’s get cozy with it. Let’s get cozy with that next adventure.”Death hovers like a specter around her latest role, as the single mother of a seriously ill child, in the play “Mary Jane.” McAdams hasn’t done theater since college; she makes her Broadway debut as the title character in this Manhattan Theater Club production, which began previews April 2 at the Samuel J. Friedman Theater. It’s by the busy playwright Amy Herzog, who also adapted Broadway’s show of the moment, Ibsen’s “An Enemy of the People.”“Mary Jane” is the first of her own deceptively spare plays to appear on Broadway, after a celebrated run in 2017 at New York Theater Workshop. Dotted (surprisingly) with laugh lines, it’s about the daily muck and lasting profundity of caregiving, a nitty-gritty subject that’s rarely dramatized. “A heartbreaker for anyone human,” Jesse Green wrote in his New York Times review.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More