Thurs. afternoon, 11/13 -- Seth's Chatterbox: David Burtka -- nice interview -- lots of interesting vignettes about his teen years acting in a regional theatre community that included Sutton and Hunter Foster, Celia and Andrew Keenan-Bolger, and Gavin Creel -- plus a number from his cabaret act.
Thurs. evening, 11/13 -- Side Show: much revised book is a big improvement; there's a back story now and everything makes more sense. The score remains very strong, haunting at times. Davie and Padgett are quite good as Violet and Daisy.
Fri. afternoon, 11/14 -- The Girl Who Came to Supper: nice revival of rarely seen musical. Jessica Wagner as Mary and Jonathan Raviv as Prince Charles do full justice to Coward's witty and funny score. Peter Filichia led a terrific talkback.
Fri. evening, 11/14 -- Allegro: Doyle's revision trims a good hour of Hammerstein's book but the score remains (minus "Mountain Greenery" dance music) and it's glorious. Claybourne Elder, Malcolm Gets, and Alma Cuervo lead a strong cast. Don't miss this one!
Sat. afternoon, 11/15 -- It's Only a Play: book is rather thin -- humor is of the silly, shtick-y, anything for a laugh type, but it worked for me -- I roared heartily for 2-1/2 hours. Lane, Channing, and newcomer Micah Stock nail every laugh. Broderick underplays nicely.
Sat. evening, 11/15 -- The Curious Incident of the Dog in the Night-Time: story (surprisingly) is a tad insubstantial, but stunning scenic design and superb direction brilliantly take us inside the world of Christopher Boone. Alex Sharp's performance is mesmerizing. A must see.
Sun. afternoon, 11/16 -- On the Town: Yazbeck heads a fine cast. I agree with everything other ATCers who love this revival have posted. New York New York, Lonely Town, Some Other Time -- Broadway show tunes don't get any better than these. The highlight of my trip!
Sun. evening, 11/16 -- The Band Wagon: enjoyable evening of light entertainment -- selection of Schwartz-Dietz numbers are well sung (although it's jarring to hear book songs from The Gay Life and Jennie performed in a different context). Beane's revised libretto incorporates some dark subplots that were (wisely IMO) discarded from the '53 film, giving the show a wildly uneven tone. Sheldon triumphs over some very awkward moments and walks away with every scene. Marshall's choreography for the final number is spectacular with fancy footwork by Paul McGill and Joyce Chittick.
Mon. evening, 11/17 -- A Delicate Balance: Albee's relentless stream of funny, harrowing, incisive, and unsettling dialogue makes for a challenging but ultimately satisfying evening. Lithgow is masterful, and Close is a model of control.
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