Why are there so many Broadway openings in April?
Producers believe that plays and musicals that opened the previous
summer, fall and winter are soon forgotten. Given that the Tonys,
Drama Desk, Outer Critics Circle and Theatre World Awards all
bestow their prizes in May or June, the bulk of Broadway’s plays and
musicals now open as close to those months as possible.
So, to encapsulate April’s very busy time, here’s some information on
what opened:
BECKY SHAW – T.S. Eliot said that April was “the cruelest month,”
and you can prove it by the cruel people in Gina Gionfriddo’s play.
Exhibit A: when a man meets a woman on a blind date and greets
her by saying that her dress resembles a birthday cake, you know
he’s no diplomat. If you like humor that stabs at the heart, head to
the (Helen) Hayes Theatre.
CATS: THE JELLICLE BALL – And speaking of T.S. Eliot, the musical
on which he (unknowingly) collaborated with Andrew Lloyd Webber
more than a dozen years after his death returned to Broadway for
the second time. The first two outings often spurred more snarky
remarks than the cumulative 8,078, performances. And yet, this
musical that has long been mocked to the point of crucifixion has
now scored mightily because it’s not a mirror image of the other two,
but honors drag balls. Well, cats are said to have nine lives, but who
knew that this third one would go so well?
DEATH OF A SALESMAN – Most people came to know Nathan Lane
from musical comedies that resulted in his first two Tonys. Don’t
forget, though, that he won a third for Angels in America, which
wasn’t all fun and games. In Arthur Miller’s classic, there’s hardly any
fun but plenty of games – mind-games, that is – in Lane’s strongest
performance yet as the beaten-down road warrior. Equally superb is
Laurie Metcalf as his long-suffering wife and Christopher Abbott as

their son who ruined his life when he discovered his father’s feet
were made of cheap clay. But the real surprise is Ben Ahlers as the
other son. It’s not a part that often commands much interest, but
Ahlers holds stage magnificently with all three and ensures that
attention must be paid.
TITANIQUE – If you haven’t seen this show in its previous two of-
Broadway incarnations, you were smart to wait until now. The parody
of the multi-Oscared film easily fills the large St. James Theatre
where it’s now securely docked. Yes, the script is silly-slash-stupid,
and you’ve heard the songs before, but you’ll come out with
complete adoration for Marla Mindelle. The Celine Dion stand-in really
knows how to work a crowd.
THE FEAR OF 13 – So, we have a criminal who’s been put on death
row for a murder he didn’t commit. Can his lawyer-turned-girlfriend-
turned-wife get him out of prison? Are you inferring that the 13 in
the title means the number of years he served? Go and see if you’re
right. But here’s the thing: can you have all that much sympathy for
a guy who was indeed guilty of some earlier crimes before he was
damned by this judicial mistake? Whatever the case, Adrien Brody
has a chance to add a Tony to his two Oscars (although the smart
money’s on Lane).
PROOF – Sure, Ayo Edebiri is making a powerful Broadway debut as
Catherine, a grown daughter whose brilliance as a mathematician is
short-circuited by an ailing father who needs 24/7 help. But let’s talk
about Kara Young, whose four Broadway appearances have resulted
in four Tony nominations; better still, the last two yielded a pair of
wins. Here she must play a character unlike any of the other four,
but easily nails this one, too: Claire, a visiting daughter whose
successful career makes her think that she has all the answers to
Catherine’s problems. Yeah, how easy it is to show up every now and
then when your sister is doing the heavy lifting day after day after
day. It’s a fine revival of David Auburn’s drama that was not only the
Tony-winning play 25 years ago but also one that snagged the
Pulitzer Prize.

FALLEN ANGELS – All of Kelli O’Hara’s 13 previous appearances on
Broadway have been in musicals. Here she isn’t required to sing but
must conquer a Noel Coward play that starts out as high comedy but
turns low and lower the more her character drinks. O’Hara does it
hilariously, as does Rose Byrne. The Oscar-nominated actress from If
I Had Legs, I’d Kick You lifts those legs high and kicks up her heels
as she gets progressively intoxicated. Drink it all in.
SCHMIGADOON! – So, what was the smartest decision made by
Cinco Paul, who wrote every word and note of this parodic love letter
to classic Broadway musicals? In choosing what shows to spoof, he
selected The Music Man, Carousel and Oklahoma! – for audiences
who may not have seen these hits on stage still know them from
their film versions. How nice that everyone is in on the joke. Don’t
miss expert dancer Max Clayton – well, in fact, you can’t, because
you won’t look anywhere else when he commands the stage.
THE BALUSTERS – Ever been on a Homeowners Association
committee? Even if you haven’t, you’ve probably belonged to some
group in which you had a voice but were vociferously voted down by
the other voices whenever you made a suggestion. Watch Anika Noni
Rose, new to the neighborhood, and longtime president Richard
Thomas start out fighting as elegantly as fencing masters with their
épées before metaphorically putting on the boxing gloves and then
slamming the other with caveman-like clubs. Who will conquer
whom?
BEACHES – If you only know the 1988 movie, you’ll be surprised at
how different this story is now. Iris Rainer Dart, who wrote the novel
but not the screenplay, returns to her original plot. Despite the
musical’s garnering less than raves, this may well be a popular
success. After all, if we can have beach-reading, we can have
Beaches-theatergoing at least through the summer.
THE ROCKY HORROR SHOW – Anyone who plays Frank N. Furter
must camp it up as the sweet transvestite from transsexual
Transylvania. However, when Luke Evans gets to “I’m Going Home,”
he manages to become so tender and sincere that you may, for the
first time, feel something for this out-of-towner.

JOE TURNER’S COME AND GONE – So, slavery ended in 1865? Not
quite, as August Wilson reminds us in his play that’s set 46 years
later. During that time, some white men found a way to keep black
men under their thrall. So, when one such recently released victim
shows up at a boarding house, he’s so traumatized from the
experience that every resident is unnerved – but not as much as we
are to learn about this little-known and shameful aspect of black
history.
THE LOST BOYS – Herre’s another musical that deserves credit for
not merely replicating the film. Don’t look for the grandfather; he’s
already gone to his final reward (or punishment). The character
named Star gets to star in a solo, as does Lucy. And the creators
made the logical if obvious move in making the vampires into a rock
band. No, the movie’s special effects aren’t as special, but you’ll
admire what can be achieved on stage.
And what’s achieved all over Broadway this spring.