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    ‘The Miser’ Review: Updating Molière, but Missing a Key Ingredient

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    This Molière in the Park production doesn’t have the sharp satirical bite of the original.The support beam of theater in France, Molière is nowhere near as famous in the United States. Yet the comic high jinks, star-crossed lovers and long-lost relatives that pop up in his play “The Miser,” first produced in 1668, will be instantly familiar to anybody who has ever seen a Shakespeare comedy.Where Molière stands out, however, is as a sharp social satirist whose denouncing of the vain, the hypocritical and the simply deluded have not aged — once timely, they are now timeless. Unfortunately it is precisely that element that is missing from the Molière in the Park production of “The Miser” at the LeFrak Center in Prospect Park, Brooklyn.The title character, Harpagon (Francesca Faridany), is a curdled, choleric, elderly man consumed by greed. It’s not even that he wants money to live in luxury: Harpagon just wants to possess it.The play relentlessly ridicules Harpagon and his pathological greed, along with his tyrannical ways at home, where he lords it over his two daughters, the flighty Elise (Ismenia Mendes) and the flashy Cleante (Alana Raquel Bowers). Complicating matters, Elise is in love with her father’s steward, Valere (Calvin Leon Smith, fresh from a terrific turn as the closeted Larry in “Fat Ham”), while Harpagon and Cleante both covet the fetching Marianne (MaYaa Boateng, from “Fairview”).That women are playing Cleante (a man in the original) and Harpagon indicates that the director Lucie Tiberghien, who is also the artistic director of Molière in the Park, is not stuck in tradition. Although it doesn’t gum up the works, why keep Harpagon as a male character, for example, and make Cleante a female one? This is where Molière’s relative obscurity in the United States becomes an asset since many audience members would not even be aware of the difference, as everything is played matter-of-factly.Trickier is Faridany as Harpagon. An essential part of the play is that the character covets the same woman as his son (OK, daughter), so his being an elderly man adds an element of discomfort. This does not hit as hard when he is played by a woman who is far from “over 70,” Harpagon’s intended age.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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      Patti LuPone and Mia Farrow to Star in ‘The Roommate’ on Broadway

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      The production is to begin performances Aug. 29 at the Booth Theater.Mia Farrow and Patti LuPone, longtime friends, had no intention of returning to Broadway until a script about two women sharing a house caught their eye.The play, called “The Roommate,” was written by Jen Silverman, and had a 2017 run, with a different cast, at the Williamstown Theater Festival, where the New York Times critic Jesse Green called it “a kind of chemistry experiment. Can two women of utterly different temperaments and backgrounds help each other? Can they help each other too much?”Farrow, 79, and LuPone, 75, met in 1979 while working on Broadway — Farrow in “Romantic Comedy” and LuPone in “Evita” — and then they were reconnected via a mutual friendship with Stephen Sondheim. (Farrow and LuPone both have houses in western Connecticut, as did Sondheim.)Farrow, in a telephone interview, said she had been sent the script for “The Roommate” and was intrigued. And she said she wanted to work with LuPone.“I would normally have said no, had I not been swept away,” she said. “This play is very funny, and odd. I’ve never read anything quite like it. It’s about secrets, and there are a lot of surprises in it.”Now a Broadway production is to begin performances Aug. 29 and to open Sept. 12 at the Booth Theater, where “Kimberly Akimbo” closed last weekend. It will be directed by Jack O’Brien, a three-time Tony winner (for “Hairspray,” “Henry IV” and “The Coast of Utopia”), and also a friend of Farrow.Farrow, best known for her work on film, has done occasional stage work over the years, starting at age 18 in a production of “The Importance of Being Earnest,” but it’s been a while. Most recently she spent a month in a 2014 Broadway production of “Love Letters.”She said she was both excited and nervous about returning to the stage. “Unlike some people, I really enjoy my retirement,” she said. “I’m never bored. So this takes a bit of a push for me, but I got on board.”She added, “I don’t know that I’ll ever do it again, but if this is the last thing that I do, then I’m lucky to be involved.”LuPone is a Broadway veteran and three-time Tony winner, for productions of “Evita,” “Gypsy” and “Company.” In 2022 she said she had given up her membership in Actors’ Equity Association, saying, “I knew I wouldn’t be onstage for a very long time.” In a statement announcing “The Roommate,” LuPone said, “I certainly had no intention of being back on Broadway so fast. But when I read the play and heard Mia was attached, it became the easiest decision of my life.”The production said it expected that LuPone would be able to work on Broadway. When asked about LuPone’s ability to do so, Equity said in a statement, “It is Actors’ Equity Association’s policy to not comment on the membership status of individual workers.”“The Roommate” is being produced by Chris Harper, who produced the revival of “Company” in which LuPone starred (that revival had a first preview in early 2020, but then didn’t open until late 2021 because of the coronavirus pandemic). More

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      The Prevalence of Standing Ovations

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      More from our inbox:China, America and the Climate ChallengeKids’ Reactions to the ‘Cringe-Worthy’ News TodayDebate Conditions Pablo DelcanTo the Editor:Re “Bravo! Hurray! Wahoo! (Meh.),” by John McWhorter (Opinion, April 16):The currency of the standing ovation is indeed seriously debased. The impulse to stand up during the ovation following a performance may in some cases represent a kind of unconscious one-upmanship. “I’m more sensitized than most people to the sublimity of what we all have just witnessed, and it is imperative that I separate myself from the underappreciative herd.”Needless to say, if other audience members follow suit by rising from their seats, then you can raise the ante by hoisting your clapping hands up from the standard mid-torso level to over your head — signifying that the artistry one is acknowledging is not just merely great, but really most sincerely great.I confess that although I invariably applaud performances, I usually “sit out” the competitive appreciation derby, and haul myself to my feet only if I feel particularly inspired. I avoid the over-the-head clapping mode at all times. Maybe this marks me as a philistine; I’ve been called worse.David EnglishActon, Mass.To the Editor:I admit that I’m often among the first to give a standing ovation. I always wondered why the holdouts would deny something so simple to these hardworking actors.You have to walk out of the theater a few minutes later anyway, so why not stretch your legs and participate with your fellow theatergoers in the shared joy of theater? Perhaps it’s generational, cultural or regional, or maybe it’s a combination.Jumping to my feet in appreciation of the actors’ hard work is my way of giving back, and it feels really good! I’m sure the actors like to feel the good will as well.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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      ‘Mary Jane,’ ‘Hell’s Kitchen’ and More New Broadway Shows

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      This past week has been jam-packed with openings. Our reviewers think these new shows are worth knowing about even if you’re not planning to see them.critic’s pickA ‘heartbreaker for anyone human.’Rachel McAdams as a mother struggling with her own moral agony in Manhattan Theater Club’s production of “Mary Jane” at the Samuel J. Friedman Theater in Manhattan.Richard Termine for The New York Times‘Mary Jane’Rachel McAdams makes her Broadway debut in Amy Herzog’s play about an impossibly upbeat mother caring for a gravely ill child and navigating the byzantine health care system.From our review:[Herzog] is not interested in locking down meaning. Like all great plays, “Mary Jane” catches light from different directions at different times, revealing different ideas. On the other side of the worst of Covid, “Mary Jane” feels less like a parent’s cry for more life than an inquest into the meaning of death.Through June 16 at the Samuel J. Friedman Theater. Read the full review.Critic’s PickA family drama that ‘feels like it’s a healing.’Jessica Lange, center, is the titular mother in “Mother Play,” at the Helen Hayes Theater in Manhattan, with Celia Keenan-Bolger, left, and Jim Parsons playing her children.Sara Krulwich/The New York Times‘Mother Play’Paula Vogel’s tragicomedy is a showcase for Jessica Lange, who plays a ferocious matriarch to a sister and brother played by Celia Keenan-Bolger and Jim Parsons.From our review:Nearly parodic in her feminine grace, [Lange’s Phyllis] is also as hard as buffed, polished nails. Phyllis is in some ways a monster, but Vogel doesn’t traffic in monsters. As a writer, she understands that people do terrible things for unterrible reasons — out of love, out of fear, out of loneliness.Through June 16 at the Helen Hayes Theater. Read the full review.critic’s pickA show that all the critics love.From left, Sarah Pidgeon, Juliana Canfield and Tom Pecinka as members of an increasingly fractured 1970s band in David Adjmi’s “Stereophonic” at the Golden Theater in Manhattan.Sara Krulwich/The New York Times‘Stereophonic’David Adjmi’s rock drama, with songs by a real rocker (Will Butler), follows a 1970s band (not unlike Fleetwood Mac) on the cusp of fame through the prolonged, drug-fueled process of making a new album.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: A New ‘Great Gatsby’ Leads With Comedy and Romance

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      This musical adaptation, now on Broadway, is a lot of Jazz Age fun. But it forgot that Fitzgerald’s 1925 novel endures because it is a tragedy.Jay Gatsby — self-made enigma, party host extraordinaire and talk of the summer season in West Egg, Long Island — doesn’t carry his insecurities lightly. The facade of his wealth-drenched life is a grand and precarious creation, and propping it up requires constant vigilance.His is new money, so he has to prove his worth to the snobberati. Thus his pathetic habit of showing that photo of himself in his Oxford days to people he has barely met. Or, more endearingly, his over-the-top insistence on glamming up the humble cottage of his neighbor, Nick Carraway, when the lost love of Gatsby’s life, the fabled Daisy Fay Buchanan, is coming over for tea.In the new musical “The Great Gatsby,” which opened on Thursday night at the Broadway Theater, the grass outside the cottage is groomed, flowers are everywhere, and a fleet of servants is ferrying food. And Jeremy Jordan’s Gatsby is an adorably panicked basket case, second-guessing in charming comic song his plan to ambush Eva Noblezada’s Daisy with a reunion.“She is late, so I’m off to go scream in a jar,” he sings, but Daisy arrives before he can flee. Unsuavely, he topples into some greenery.It’s a perfectly winsome scene, and a highlight of this ultimately underwhelming new adaptation, which has a book by Kait Kerrigan (making her Broadway debut), music by Jason Howland (“Paradise Square”) and lyrics by Nathan Tysen (also “Paradise Square”). Comedy and romance are strong suits of this production by Marc Bruni (“Beautiful: The Carole King Musical”), which ran in the fall at the Paper Mill Playhouse in New Jersey.There are plenty of big dance numbers, too (by Dominique Kelley), with some standout tap. The 1920s costumes (by Linda Cho) are fun to look at, Daisy’s in particular: all those handkerchief hemlines, wafting on air. Gatsby’s yellow Rolls-Royce and Tom’s blue coupe drive onstage, extravagantly. And while the fireworks we see in the distance are projections, other sparkling pyrotechnics are delightfully real.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: Jessica Lange Stars in Paula Vogel’s ‘Mother Play’

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      Jessica Lange stars as a ferocious matriarch alongside Celia Keenan-Bolger and Jim Parsons in Vogel’s latest family drama.In the first scene of “Mother Play: A Play in Five Evictions,” Paula Vogel’s antic, mournful new drama, Martha, a character modeled on the playwright, offers a version of Ecclesiastes.“There is a season for packing,” Martha (Celia Keenan-Bolger) says as she slits open a cardboard box. “And a season for unpacking.”Vogel, 72, has spent the majority of her career unpacking. Her work is not strictly autobiographical, but as in the plays of Tennessee Williams, Edward Albee or Adrienne Kennedy, she has a canny way of rearranging the emotional furniture of her lived experience into tragicomedy.Here, at Broadway’s Helen Hayes Theater, that furniture includes a mother, Phyllis (Jessica Lange), and a brother, Carl (Jim Parsons), named for Vogel’s own family. The story begins in 1964 with the family moving into a basement apartment in a Washington, D.C., suburb; Carl is 14, Martha 12. Phyllis is in her mid 30s, barely treading water after a foundered marriage. At times, when she can pry her hands from a gin bottle, she clings to her children as if they are life rafts. Otherwise, she regards them as jetsam. Phyllis, we learn, never wanted to be a mother.On finding herself pregnant: “I thought: Other women aren’t mother material, but they get through it. Just hang on, Phyllis, hang on. But it is never over. It’s a life sentence.” How’s that for a bedtime story?As a single working mother, Phyllis can afford only custodial apartments, and those early evictions come when she complains too loudly about the roaches and maggots. The vermin are brought to life, extravagantly, in Shawn Duan’s projections. And David Zinn’s flexible set nimbly conveys each new abode. The later, more fraught expulsions come when Phyllis rejects first Carl, who comes out as gay in college, and then later Martha, who is also queer.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: Steve Carell as the 50-Year-Old Loser in a Comic ‘Uncle Vanya’

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      Sleek, lucid, amusing, often beautiful, it’s Chekhov with everything, except the main thing.Why is it called “Uncle Vanya”? All the man does is mope, mope harder, try to do something other than moping, fail miserably and mope some more.You can’t blame him. Vanya has spent most of his nearly 50 years scraping thin profit from a provincial estate, and not even for himself. The money he makes, running the farm with his unmarried niece, goes to support life in the city for his fatuous, gouty sort-of-ex-brother-in-law, an art professor who “knows nothing about art.” Also, Vanya is hopelessly in love with the old man’s exquisitely languorous young wife, who, reasonably enough, finds the moper pathetic.In short, he is the opposite of the bold, laudable characters most writers of the late 1890s would name a play for. That’s probably just why Chekhov did it, announcing a new kind of protagonist for a new kind of drama. Life in his experience having turned squalid and absurd, he could no longer paint it for audiences as heroic. So how could his protagonist be a hero?The “Uncle Vanya” that opened on Wednesday at the Vivian Beaumont Theater, its 10th Broadway revival in 100 years, sees Chekhov’s epochal bet and raises it. If Vanya is properly no hero in this amusing but rarely deeply affecting production, it’s because he’s no one at all. He despairs and disappears.That would seem to be quite a trick, given that he’s played by Steve Carell, the star of “The Office” and, perhaps more relevantly, “The 40-Year-Old Virgin.” Carell’s Vanya imports from those appearances the weaselly overeagerness that makes you roll your eyes at him while also worrying about his mental health. He makes jokes that aren’t. He gets excited over all the wrong things. Rain coming? He called it.Without a camera trained on such a man, you quickly learn to ignore him, as you would in real life. Indeed, in Lila Neugebauer’s sleek, lucid staging, you barely notice Vanya even as he makes his first entrance, hidden behind a bench. When he speaks you don’t pay much more attention; in Heidi Schreck’s smooth, faithful yet colloquial new version, his first words, naturally, are complaints. “Ever since the professor showed up with his spouse,” he says, with a bitterly sarcastic spin on the last word, “my life has been total chaos.”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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      ‘Oh, Mary!,’ a Surprise Downtown Hit, Will Play Broadway This Summer

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      Cole Escola’s madcap comedy about the former first lady Mary Todd Lincoln will begin performances in June.“Oh, Mary!,” an outrageously madcap comedy that imagines the former first lady Mary Todd Lincoln as an oft-inebriated chanteuse-wannabe, will transfer to Broadway this summer after becoming a surprise hit downtown.The show, which is gleefully tasteless and also ahistorical, is the brainchild of Cole Escola, an alt-cabaret performer who built a cult following with a series of YouTube sketches and reached a wider audience with a role on Hulu’s “Difficult People.”The Broadway run is scheduled to begin previews June 26 and to open July 11 at the Lyceum Theater. It is scheduled to run until Sept. 15.“Oh, Mary!” began its life in January at the Lucille Lortel Theater in the West Village. That commercial Off Broadway run has been extended twice and is scheduled to end May 12. The run has been sold out, and has attracted a stream of celebrities, including Bowen Yang, Timothée Chalamet, Amy Schumer and Jessica Lange; one night Steven Spielberg, who directed the 2012 film “Lincoln,” showed up with Sally Field (who played Mary Todd Lincoln in the film) and Tony Kushner (who wrote the screenplay).“Oh, Mary!” was written by Escola and is directed by Sam Pinkleton. The Broadway run will feature the same cast as the Off Broadway run, including Escola as Mary Todd Lincoln and Conrad Ricamora as Abraham Lincoln; it is being produced by Kevin McCollum, Lucas McMahon, Mike Lavoie and Carlee Briglia. More

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      ‘Mary Jane’ Review: When Parenting Means Intensive Care

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      Amy Herzog’s heartbreaker arrives on Broadway with Rachel McAdams as the alarmingly upbeat mother of a fearfully sick child.Soon after Alex was born at 25 weeks, with multiple catastrophic disorders, Mary Jane’s husband, unable to cope, fled their marriage. Still, she hopes he “finds some peace, I really do.”She also thinks kindly of her boss, who means to accommodate her but pretty much fails to. “It’s daily moral agony for her,” Mary Jane marvels. “It’s really something to behold.”Mary Jane’s own moral agony is likewise something to behold. She feels guilty about putting the super of her Queens building, where she shares a junior one-bedroom with Alex, in a difficult position by removing the window guards. “It’s just that he loves looking out the windows, especially when he’s sick and I can’t take him outside?” she explains in upspeak.“It’s the law,” the not-unkind super replies — though Alex, now 2, can barely sit up, let alone reach the sill.“You’re an excellent superintendent,” Mary Jane says. She is the embodiment of apologizing for living.That, at its heart, is the condition that Amy Herzog’s steel-trap play “Mary Jane” explores: The death of the self in the love for one’s child. As with Alex, so for his mother: There is no cure.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