Plays: Last News

brilliant-turned-tacky “The Crown,” the royals series that he created for Netflix, his writing about historical figures has grown animatronic and hackneyed. Mouthpiece Theater.

Shucked”), will begin previews at the Booth Theatre on 45th Street in late August and then open in mid-September. Produced by Chris Harper (“Company”), “The Roommate” has signed a lease in Shubert Alley for 16 weeks.While it will certainly be a thrill to see the 79-year-old star of “Rosemary’s Baby” back on the boards for the first time in a decade (her last go-round was in “Love Letters”), what’s really piqued my interest is Patti’s Card.In July 2022, LuPone, 74, very publicly left Actors’ Equity, the professional actors union that a performer typically is a member of to work on Broadway and at many other top-tier theaters around the country. “Quite a week on Broadway, seeing my name being bandied about.

John Patrick Shanley likes to run ideas past the people who populated his youth growing up in the Bronx.But one of his regular helpers isn’t even human.“I definitely confer with Bugs Bunny,” the Tony Award and Oscar winner told The Post.Shanley, 73, thinks the tricky rabbit exemplifies New York attitude.“He has a certain ironic thing that he brings to the most exciting or calamitous situation,” he said. “And he tends to find a way to enjoy whatever’s going on, even if it’s Yosemite Sam trying to blow his head off.”Like Bugs, Shanley is certainly loving the moment right now — he has an impressive trio of plays onstage in NYC this year.“It just happened,” Shanley said with a touch of disbelief.

“Titanique” at the Daryl Roth Theatre on Union Square East.“I’ve been producing off-Broadway for over 15 years and I have been waiting for this heyday of off-Broadway to happen for a long time. Honestly, I think it’s the topics, the themes and the tone of the shows which are resonating with audiences.

which last played Broadway 12 years ago, is the sort of not-quite-ripped-from-the-headlines play that could be about any fill-in-the-blank issue that’s on the viewer’s mind that day. It’s relevant by design.Exhibiting restraint — well, almost — director Sam Gold avoids making obvious modern parallels to needlessly buttress its potency.

“Cabaret” (starts April 1). I caught Redmayne when he played the role in London, and found his Evil Clown turn menacing.

a hilariously scheming Mary Todd Lincoln who dreams of returning to her cabaret roots, but she’s stuck aimlessly wandering around the White House while unhappily married to Abe Lincoln.The deliciously demented mind behind this inspired lunacy is Cole Escola (who uses they/them pronouns), who wrote and stars as the titular subject opposite Broadway star Conrad Ricamora.In a recent interview, Escola, 37, told the New York Post that the genesis for “Oh, Mary!” came about over a decade ago in 2009.“I loved the idea so much that I was scared to write it,” they shared. “Because I wanted it to be as perfect as I had it in my mind.”But the COVID-19 pandemic helped the writing process along.“I had nothing going on,” Escola continued.

John Patrick Shanley’s scorching drama about a nun who suspects the parish pastor of being a child molester.90 minutes with no intermission. At the Todd Haimes Theater, 227 W.

How am I laughing so uncontrollably at a play about Mary Todd Lincoln?Yes, Abraham Lincoln’s wife is the subject of this riotous new comedy at the Lucille Lortel Theatre, written by and starring Cole Escola, that definitely does not aim to teach your anything or challenge your brain cells. Rather, the campy “Oh, Mary!” is too busy daring your lungs to stay full of air for more than a few seconds.

who won the Emmy Award for Best Actress in a Drama on Monday night, plans to make her Broadway debut next season.A source told The Post that Snook will come to New York with “The Picture of Dorian Gray” once it finishes its run in London, where she’s also its star. The one-woman show is scheduled to play across the pond from February to May.She’ll perform all 26 roles in the adaption of Oscar Wilde’s novel by Kip Williams, the artistic director of the Sydney Theatre Company, where the show premiered back in 2020.

Netflix has dropped a video preview of the upcoming stage play “Stranger Things: The First Shadow,” which begins performances this month in London.“We were in the middle of breaking Season 4 with our writers, and we started going, ‘OK, well, there’s definitely more story to tell here,’” says Ross Duffer, who co-created the sci-fi series with his brother, Matt, in the featurette. “We wanted to tell an original story set in the ‘Stranger Things’ universe.”The all-new tale, written by series writer Kate Trefry, will be a prequel — so don’t come looking for Mike, Will, Dustin, Lucas or Eleven — partly about young Hopper and Joyce, played on the streaming show by David Harbour and Winona Ryder, respectively.Those roles will be taken on at the Phoenix Theatre by Oscar Lloyd and Isabella Pappas.

will no longer be permitted to read many of Shakespeare’s plays in full — due to sexual content.The decision is in accordance with the 2022 Parental Rights in Education Act, according to the board. The act, recently signed into law by Gov.

my ear. The gist, without revealing specifics, is that everybody is cheating on everybody else. In a 1923 English countryside abode, erudite Beau (Eric McCormack) and Sylvia (Laura Bell Bundy) are not-so-classily getting it on, when gradually they’re intruded upon by Marjorie (Lilli Cooper), Clarke (Alex Moffat), Dierdre (Dana Steingold) and Richard (the role normally played by Neham Joshi was understudy Tony Roach on the night I saw it). The group is made up of husbands, wives, exes, secret lovers and, shall we say, secret professionals, all of whom have repressed desires and grievances to air.What unravels is not so much a jolly farce of slamming doors and shocking surprises (there are a few), but a two-act parlor scene of admitted sexual indiscretions screamed so the bartenders at Sardi’s next door can follow along. You miss the old farces. There isn’t much of the hiding-in-closets fun that has long been the meat of similar comedies such as “Boeing-Boeing” and Coward’s “Present Laughter.” That’s why the amped-up energy is so jarring — for the most part, these characters simply stand together and yell. That tried-and-true farce structure — low-key witty first act, madcap second, wrapup third — is abandoned by Rustin in favor of high-energy antics from start to finish, much like Broadway’s 2021 play “POTUS” that similarly ran out of gas halfway through.Steingold, as the loopy Dierdre, runs away with “The Cottage.” Her persona, with a voice somewhere between a ghost and a drunken bridesmaid, is hilarious.

much ado about nothing, the theatre might say.According to the Globe’s recount, the incident took place during a matinee showing of the bard’s “A Comedy of Errors” when the man — who has yet to be identified — bought a ticket to stand in the legendary theater’s yard right in front of the stage. Following the performance, one angry audience member complained that they were “shocked to see a man in a full latex gimp suit” and “even more shocked that he was allowed to stay in the theatre despite what he was wearing.”The Post has reached out to the Globe for comment.

The Lehman Trilogy” plans to return to Broadway this fall, a source told The Post.Playwright Stefano Massini’s drama (adapted by Ben Power), which won the Tony Award for Best Play in 2022, would begin performances at Lincoln Center’s Vivian Beaumont Theater in September.The three-hander — a sprawling history of Lehman Brothers leading up to the 2008 financial crash — would slide in to fill the void left by the revival of Lerner and Loewe’s “Camelot,” which opened in the spring and is closing early on July 23 due to poor ticket sales. That 1960 musical, directed by Bartlett Sher, had been extended through at least Sept. 3, but it did not garner the same level of acclaim or demand that his revivals of Rodgers and Hammerstein’s “South Pacific” and “The King and I” did.

Summer, 1976,” which opened Tuesday night at the Samuel J. Friedman Theatre, generously provides — featuring the indomitable Laura Linney and Jessica Hecht.Not that you’re outside — even if Japhy Weideman’s sparkling lights warmly make you feel like you are — or that the show is all smiles. One hour and 30 minutes with no intermission.

Good Night, Oscar,” there is no doubt. Whether the end result is a human being or a bag of tricks depends on your taste for ham.One hour and 40 minutes with no intermission.

Prima Facie,” which opened Sunday night on Broadway, the audience is hit by two wildly different sensations.First, as we become fully absorbed by the harrowing story of Tessa, a brilliant young barrister whose life is horribly upended, there is great pain and sadness in watching her go through a trauma nobody should ever have to experience. Some viewers will be understandably overwhelmed by it all.One hour and 40 minutes with no intermission.

Peter Pan Goes Wrong,” the happily hyperactive comedy that opened Wednesday night on Broadway, provides: missteps, mayhem, incapacitations, faulty sets and, in a roundabout way, “Fawlty Towers.”The very funny British play’s premise is the season’s simplest. The amateur Cornley Polytechnic Drama Society tries to put on “Peter and Wendy” and fails epically. 2 hours and five minutes, with one intermission. At the Ethel Barrymore Theatre, 243 W.

that is the question.Running time: 1 hour and 45 minutes with no intermission.  At the American Airlines Theatre, 227 W. 42nd Street.Playwright James Ijames’ “Fat Ham,” which opened Wednesday night on Broadway, thinks so.

the new spectacle show “Life of Pi” seaworthy: stunning projections, and a better-than-necessary lead performance from the sensational Hiran Abeysekera.2 hours and 15 minutes, with one intermission. At the Gerald Schoenfeld Theatre, 236 W 45th Street.Working in tandem during the second act, when teenage Pi is adrift in the ocean with only dangerous zoo animals to keep him company, those fantastical images and Abeysekera’s boisterous energy create moment after moment of theatrical magic. They are sequences of pure action and ingenuity in director Max Webster’s production that do not rely on dialogue or plot to thrill us, only sheer emotion and awe.