Elyse's Blog— An in-person finale of Richard Nelson's Rhinebeck Panorama. . . the Atlantic Theater comes back to live performances with a new play, The Last of the Love Letters, and Gingold Theatrical Group with a Shaw crowd pleaserMrs. Warren's Profession. . . .An on-screen treat, Angela's Ashes: the Musical.

September 14, 2021 Update
— An in-person finale of Richard Nelson's Rhinebeck Panorama. . . the Atlantic Theater comes back to live performamces with a new play, The Last of the Love Letters, and Gingold Theatrical Group with a Shaw crowd pleaserMrs. Warren's Profession. . . .An on-screen treat, Angela's Ashes: the Musical.

It would be boorish not to be pleased by all the publicity showered on Waitress and Hadestown, the first musicals to come back to Broadway. Senator Chuck Schumer's attendance at the Waitress opening and the fact that Sara Bareilles —the show's creator and composer — will be starring through October 17th has no doubt contributed to healthy ticket sales. Sadly, Nick Cordero who played a major role in the Broadway production I reviewed was a COVID victim. (Read my review here ) Here's hoping, that Hadestown, which I reviewed off-Broadway in 2016, and on Broadway in 2021 (Broadway Review Off-Broadway Review).will also continue to thrive.

While Broadway is indeed essential for the city's economic well-beng, Off-Broadway theaters are where so many shows begin life. These always adventurous theaters too have suffered enormous losses and need attention and support to keep the city's cultural heart beating.

Like the big Broadway houses, these small venues are returning to live performances with strict safety protocol in place. Some, especially the Irish Rep Theater have actually used the lockdown to win new fans from far away with previously presented plays inventively filmed for the screen. Though they are opening the doors of their 140-seat theater again, their screened plays are still available to rent inexpensively OnDemand. The Rep is tthe perfect host tor the New York screen debut of the Pat Moylan poroduction of the musical adaptation of Frank McCourt's Pulitzer Prize winning memoir Angela's Ashes. My comments on seeng the film's opening performance comfortably seated at my dining table will follow my comments on Off-Broadway plays that are or will soon be offering plays for audiences to see in person. . All offer a chance to go back to the theater in a less populated settting.

What Happened?— The Michaels Abroad by Richard Nelson.

When the Michaels last shared a meal and conversation around a table in Rhinebeck, the family matriarch Rose, a distinguished choreogrspher, was dying of cancer. In the concluding play she's been dead for six months, not from the cancer but COVID and the Michaels family has been cleared to fly to France for a conference of her work. The table around which they are gathered is the home of Rose's wife Kate in France. As usual, the two hours are more about character than plot. The table talk includes some dancing, but above all, these characters are all living through the same present as all who are watching.

Maryann Plunkett and her husband Jay O. Sanders, who've been in every play , including the Zoom trilogy, are on board for the finale. Their presence in the last of these basically under-dramatized plays may have some of their many fans conquer their Delta Variant nervousness.

For ticket information, go to https://www.huntertheaterproject.org/

The Last of the Love Letters If CurtainUp were still in old "cover every new show coming to town" mode, I'd certainly check out the world premiere of The Last of the Love Letters at the Atlantic's Linda Gross Theater at 3336 West 20th Street. It's a limited run engagement that began August 26th and will end September 26th. Playwright Ngozi Anyanwu also performs and Patricia McGregor directs Playwright and player Ngozi Anyanwu is joined on stage by Daniel J. Watts and Xavier Scott Evans, the former listed as "You No.2" and the latter as "Person." They contemplate the thing they love most and whether to stick it out or to leave it behind. To stay. Or to go. That is the question. Sounds like a challenging choice.

Next up at the Atlantic is an intriguing new musical based on David Lindsay-Abaire's Kimberly Akimbo, with book and lyrics by Lindsay-Abaire, music by Jeanine Tesory. Directed by Jessica Stone and starring the golden voiced Victoria Clark as Kimberly, this sounds like a show with legs to take it to Broadway. Still, there's nothing like seing it in a more intimate space . That opportunity will be from November 5 to December 26, 2021.

Mrs. Warren's Profession Just once every year Gingold Theatrical Group departs from its modus operandi of play readings to put on a fully staged play at Theater Row. And they're doing so now with a revival of Bernard Shaw's Mrs. Warren's Profession. The play has had its share of outstanding thespians portray the main characters. Director David Staller too has assembled a fine cast. Tony Award winner Karen Ziemba stars as Mrs. Warren. She's supported by Robert Cuccioli, David Lee Huynh, Nicole King, Alvin Keith and Raphael Nash Thompson. The limited engagement runs from October 12th to November 20th. To read the half dozen other productions of this play reviewed at CurtainUp, see Playwrights Album chapter on Shaw here.

Angela's Ashes: The Musical enjoyed a number of widely praised live productions in Ireland. Now the filmed version is making its New York debut. Having that debut hosted by the Irish Rep is an apt choice given their own history with Frank McCourt. They successfully produced McCourt's revue The Irish and How they Got That Way, and revived it after his death in 2009. Like the Rep's archive of past live productions innovatively filmed for screen viewing, Angela's Ashes: The Musical is also smartly filmed, making the Rep the premiere's perfect host. However, unless things change, the Pat Moylan film will be available only for its short run, unlike the ones produced by the Rep that can still be accessed OnDemand.

To cut to the chase. . . Can the source book really work as a musical? After all, anyone who's read McCourt's memoir about his difficult Irish childhood, or seen the film adaptation that's still available at Amazon Prime, may find it hard to imagine young Frank and his impoverished family members singing an dancing.

I'll admit that I had my doubts. But that was before attending the first performance courtesy of the laptop on my dinng room table. Thanks to Thom Southerland innovative direction and Jacinta Whyte and Eoin Cannon superb acting and singing as Angela and Frank, Paul Hurt's book and Adam Howel's music and lyrics, McCourt's story does indeed come to vivid life as a musical drama.

Hurt's book remain true to McCourt's recollecions of his unhaooy Irish childhood in Limerick, the town to which his family returned after failing to survive their first journey to America. That was when Frank, the oldest, was just 5-years-old. The years of extreme poverty resulting from his father's drunkenness and failure to supprt the family was exacerbated by the Limirick citizenry treatment — often, mistreatment. No wonder, the dream that took more than a dozen years to realize that Frank's mantra was to go to America.

Eoin Cannon deftly jumps back and forth between Frank as the show's adult narrator, and Frank as an active member of his large, troubled family. I usually don't like to see adult actors playing children, but Cannon won me over here. Jacinta Whyte inhabits the role of a woman whose love match results in too many children and incredible hardship. Her powerful vocals add some of the best solos and duets to the show. While Cannon and Whyte are thhe show's stars, The ensemble too does finw work portraying the Limerick citizenry, many of whom add to the pain of the McCourts' return to Ireland.

Best of all, this musical adaptation brings some light into the memoir's darkness. The heartbreaking moments are still there, but so are some rousing dance numbers and funny moments. Not to be overlooked in the musical's assets is Francis O’Connor's clever stage design with its use of a moving staircase, suspended window frames and a balcony.

For ticket details go to https://irishrep.org/tickets/

August 24, 2021 Update
With the Delta Variant ratcheting up health and safety concerns and the hesitancy of audiences to return to the theater, the opening of Infinite Life, a new play by 2014 Pulitzer Prize winning playwright Annie Baker has been delayed indefinitely by the prestigious Off-Broadway Signature Theater and the artist.

While Passing Over , which has already opened and the critics who went reviewed favorably, this new, two-person take on Beckett's Waiting for Godot has a three-fold problem: 1, Though it garnered much praise in it's original off-Broadway , a small and edgy play like this was always going to have trouble attracting a Broadway audience. 2. It is saddled with the same health and safety concerns that prompted the Signature Theater decision to put Baker's play on hold. 3. Being the very first play to open up on Broadway puts an extra burden on a play that was risky to begin with. Coming as it does after more than a year of unprecedented suffering, loneliness, and horrendous events, is a serious drama like Passing Over really an ideal way start things off? Aren't we more ready and in need of something light and bright? The anemic ticket sales indicate something lighter would have a better chance of holding on until the October closing date.

But there's good news about the Shakespeare in the Park production of Merry Wives of Windsor, which officially opened August 9 at the outdoor Delacorte Theater. If you missed the lively, handsomely staged production, it's going to have a digital aftelife as a film. It will be available as part of the PBS Great Performance series.

August 18, 2021 Update
When you click over to https://irishrep.org/ to reserve your ticket tor a limited time free viewing, you'll see that what looks like another treat is coming up next: a musical version of Frank McCourt's Angela's Ashes. And, if you missed any of their previous screened performances, they're available for a $25 reservation that allows you 48 hours to view it.

While the latest Broadway revival of West Side Story, one of the most durable musical adaptations of a Shakespeare play, is not coming back, Shakespeare's words — whether heard or read — will continue to be a favorite source for apt commentary on current events. And so my favorite quote of the week was from an article entitled "A Political Dynasty Bites the Dust." Miriam Pawel led into the piece on Andrew Cuomo's downfall by noting that his more successful and eloquent father's public waffling on his presidential prospects earned him the epithet "Hamlet on the Hudson." She then topped this with "at least in this regard, Andrew Cuomo has indeed outdone his father as the true Shakespearean figure, whose hubris and love of power for power’s sake had tragic consequences for so many."

Add to the real life dramas grabbing our attention the new dark clouds the the Delta Variant is casting over the optimism pertaining to the long list of opening dates. For sure, screened entertainment is a more than ever vital adjunct to our theater experience.

Below is a list of shows offering tickets starting as of the announced opening and re-opening dates. Though gross sales are currently not being made public, it's no secret that even the hottest shows have tickets available. The following list includes Broadway and Off-Broadway, through the end of this year.

Aug. 22--Pass Over (August Wilson) - Sept. 2--Hadestown (Walter Kerr); Waitress (Barrymore) - Sept. 3--Blue Man Group (Astor Place) - Sept. 14--Chicago (Ambassador); Hamilton (Richard Rodgers); The Lion King (Minskoff); Wicked (Gershwin) - Sept. 17--David Byrne's American Utopia (St. James) - Sept. 21--Sanctuary City (NYTW/Lortel); Little Shop of Horrors (Westside) - Sept. 22--Come from Away (Gerald Schoenfeld) - Sept. 24--Moulin Rouge (Al Hirschfeld) - Sept. 26--Tony Awards (Winter Garden/CBS/Paramount +) - Sept. 28--Lackawanna Blues (MTC/Samuel Friedman); Aladdin (New Amsterdam) - Oct. 1--Diana premieres on Netflix - Oct. 3--Six (Brooks Atkinson) - Oct. 4--Letters of Suresh (Second Stage/Kiser); Sleep No More (McKittrick Hotel) Oct. 5--To Kill a Mockingbird (Shubert) - Oct. 7--Freestyle Love Supreme (Booth) - Oct. 8--Tina: The Tina Turner Musical (Lunt-Fontanne) - Oct. 9--Gazillion Bubbles Show (New World Stages) - Oct. 10--Chicken and Biscuits (Circle In the Square) - Oct. 11--Is This A Room (Lyceum) - Oct. 13--Girl from the North Country (Belasco) - Oct. 14--The Lehman Trilogy (Nederlander) - Oct. 14--Fairycakes (previews begin; Greenwich House Theater - Oct. 16--Ain't Too Proud: The Life and Times of the Temptations (Imperial) - Oct. 17--Dana H. (Lyceum) - Oct. 21--Jagged Little Pill (Broadhurst); The Woman in Black (McKittrick Hotel) - Oct. 22--Phantom of the Opera (Majestic) - Oct. 27--Caroline or Change (Roundabout/Studio 54) - Oct. 31--Thoughts of a Colored Man (Golden) - Nov. 3--Morning Sun (MTC/City Center) - Nov. 4--The Visitor (Public) - Nov. 5--The Book of Mormon (Eugene O'Neill) - Nov. 12--Harry Potter and the Cursed Child (Lyric) - Nov. 15--Jersey Boys (New World Stages) - Nov. 17--Diana (Longacre); Cullud Wattah (Public) - - Nov. 18--Trouble in Mind (Roundabout/AA) Nov. 22--Clyde's (Second Stage/Hayes) - Dec. 5--Mrs. Doubtfire (Stephen Sondheim) - Dec. 9--Company (Bernard B. Jacobs) - Dec. 11--

August 6, 2021 Update
A Still Unanswered Question: To Mask or Not to Mask
The worrisome Delta variant's ability to spread the virus make the announced comeback of live theater more problematic than ever. As if grappling with the financial fallout of more than a year of closed theaters weren't enough, audiences must now be persuaded to buy tickets at the level they once did without guaranteed herd immunity.

Exciting and fun as it is to be inside a theater, sharing the experience with a crowd of strangers may lessen rather than intensify the special something of the live experience. Except for the big, legendary musicals, the real not-to-be-missed outing will thus continue to be a meet-up with a small group of safely vaccinated friends and family members during which even a hug is possible. In addition, outcomes of real life dramas like the Andrew Cuomo scandal are unfolding on our screens, not on any stage.

Masked or unmasked, in a full or partially full house, what's on offer will continue to reflect the increased focus on diversified storytellng and casting. However, while we've seen great progress in gender and racial diversity on both stage and screen, audiences tend to reflect the same elitist patterns. Thus when a talented young African-American critic visiting the Williamstown Summer Festival she commented on the fact that only a mostly white audience got a chance to see these commendably of-the-moment shows.

The Problem With Audience Diversity
The Berkshire area's cultural riches have made it possible for towns like Pittsfield, Williamstown and North Adams to overcome the closing of factories by creating job and business opportunities for those catering to the mostly white visitors and residents drawn to the area's natural beauty and many entertainment hubs. Unlike that young New York critic, more people travel there to see some shows by car than bus. Most year-round and summer residents are not only mostly white, but are retired or close to retirement.

Of course, the true test of a story that will be relatable to an audience no matter who they are and how they live depends on the work's emotional impact and authenticity. Two plays scheduled for anniversary Broadway revivals likely to hit home with audiences regardless of age or taste are Paula Vogel's How I Learned to Drive and Richard Greenberg's Take Me Out — the first with its original stars, and the latter with a new cast. I was fortunate to see both in their original and subsequent runs (How I Learned to Drive & Take Me Out).

Yes, You Can See Audra McDonald Perform Right Now
To begin with the good news. Robert and Michelle King have concocted a six-episode series for eight stellar stage actors, with a plot so wild and weird that you hardly notice that only the actors who are actually living together as a couple (Audra McDonald-Will Swenson; Phllipa Soo-Stephem Pasquale) In case you are a fan of zombie movies, you may not think it's bad idea to turn the pandemic into a case of having the virus caused by a bite that turns the bitten into monstrous zombies. Since the Kings are skilled screenwriters (their hits include The Good Wife series), they at times do succeed to have this all come off as a comic riff on the genre. The plot revolves around Audra McDonald, a concierge doctor with a Zoom practice and Taylor Shilling, a high-paid dominatrix. But not even McDonald as the doctor , or Pasquale and Swenson as her onscreen husband and lover respectively, can save this from turning into a mish-mash of styles and a misuse of talent. The only payoff for those hanging in for all the episodes is that McDonald is allowed to sing briefly.

Docu-Series: The Streaming Platforms' Most Durable and Adaptable Genre
While Zombie and other types of thrillers will no doubt continue to show up on streaming platforms, the most frequently embraced genre is the documentary which lends itself to multiple, thematically connected series. Just click on that little search icon and a treasure trove of interesting titles is likely to pop up. CNN is just completing an entertaining and informative 8-part History of Comedy that you can watch an episode at a time or binge through at your available On Demand platform. One of this series' frequent commentators Norman Lear got a biography of his own five years ago that's still available as part of the American Masters series for those with a THIRTEEN Passport. It's nice to know that Lear, who was 94-years-young when the piece was filmed is still one of our peppiest senior citizens.

The adaptability of the documentary format is perhaps best illustrated by Ronan Farrow's Catch & Kill: The Podcast Tapes, a series on HBO that combines Farrow's expose of movie mogul Harvey Weinstein in print and via a podcast into a a series in which Farrow visually interacts with other journalists who tried but never made their stories stick.

Last Blog Entry Correction
An update about my July 18th blog entry about American Rhapsody, an especially timely movie to catch up with. It can be seen by Amazon Prime members. However, like some Amazon Video features it calls for a rental or purchase fee. In a case like this it doesn't hurt to do a search for whether it's available for free on YouTube or another channel. American Rhapsody is indeed free to screen on YouTube.

In the meantime my favorite oldie but goodie is Chinatown. It IS free on Amazon Prime. There's even a sequel called 2 Jakes , directed by and still starring Jack Nicholson, but it's not on a par with the one directed by Roman Polanski who left the country to escape rape charges.

July 18, 2021 Update — Lots of Screening and Live Theater News

Screened Entertainment News
The promotional hype for My Unorthodox Life says fans of the wonderful Unorthodox mini-series would love the latest Netflix take on the life of a woman raised in an ultra-Orthodox community. I beg to differ.

Netflix captured a huge fan base with Unorthodox; and Shtisel, an Israeli series. Both were emotionally powerful with authentic storytelling and superb acting that captivated enthusiastic viewers all over the world — no matter what, if any, their religious affiliation. (My review of Unorthodox & \ Shtisel).

However, My Unorthodox Life, hardly makes a case for harnessing the story of a once ultra-Orthodox mom-turned-decidedly un-Orthodox career woman to the reality show format. I'll admit, that this is not a genre I've ever liked, probably even less so, given that it helped to give Donald Trump the visibility to make a run for the highest job in the country and actually win.

While Julia Haart is a good choice to star in this unscripted reality series, the experiences unfolded during its nine episodes lack the authenticity and warmth of Unorthodox and Shtisel. Since Julia's successful flight into un-rthodxy took her to the fashion world there's the visual appeal of that to encourage continued watching. But for a series tackling a more genuine exploration of this background, I recommend Shugrin which tackles the singles scene. Like Shtisel, it's an Israeli series focusing on an ensemble of 30-something friends who live on their own but still observe their religion's rituals. Once again, the well-developed and endearingly portrayed characters keep you clicking on episode after episode. All four seasons can be screened at Amazon Prime (free with ads).

As long as I'm recommending oldies but goodies you may have missed here are two more still available to screen at Amazon Prime: Diana Vreeland: The Eye Has to Travel and American Rhapsody. The first is a 2011 documentary about the life and career of Diana Vreeland, a legend of the fashion world famous for her time at Harper’s Bazaar and Vogue and tenure at the Metropolitan Museum's Costume institute. The 88-minute film was directed and produced by Vreeland's granddaughter-in-law Lisa Immordino. It brought back memories of Full Gallop, a solo play about this one-of-a-kind grand dame that I reviewed both in New York and in the Berkshires (Off Broadway review & Berkshire Review).

American Rhapsody, a 2001 fact-based biographical drama, is about a Hungarian family that fled to America during the Stalin era but had to leave behind their baby girl. Though it took four years to undo that separation, they were eventually reunited with the by then four-year old girl,. The child was unable to feel truly connected to her Americanized family since the reunion abruptly separated her from the foster parents she'd come to love. Given the thousands of children separated from their parents in recent years, makes this film remarkably timely. Scarlett Johansson portrays the rebellious teen whose coming-of-age story this essentially is.

Another oldie but goodie film I caught up with, this one at HBO, was Warren Beatty's epic historical drama Reds which he directed and starred in with Diane Keaton. Both he and Keston manged to create a film that captured a fascinating slice of history but also managed to be a moving love story. The f sound trsck includd a song by Stephen Sondheim.

News about live theater's comeback
The early reopening of the Park Avenue Armory's Drill Hall with a cutting edge adaptation of Enemy of the People that I wrote about in my previous blog updatehad an unplanned early closing because Ann Dowd left the show to tend to a family crisis. Solo shows may be essier and more economical to stage, but they often don't have understudies to take over in case of emergencies.

In the meantime, audiences are enjoying the way Shakespeare's characters are making merry and giving a nod to black-is-beautiful snd same-sex msrrisge in Central Park. But, the filmed version of In the Heights has run into complaints about not reflecting all the ethnicities snd skin tones in its Wahington Heights setting. Actually, the problem of colorism was at the hesrt of Dale Oleander Smith's 2002 Pulitzer Prize winning play Yellowman.

Many of the new shows that will be available for live vieweing will indeed reflect an all-out effort to bring more diversity to all aspects of theater. Starting on November 3rd, Pulitzer Prize winning African-American playwright Lynne Nottage is bringing a new comedy called Clyde's to the Hayes Theater. The comedy about a truck stop sandwich shop staffed by a formerly incarcerated kitchen staff is directed by Nottage's frequent collaborator Kate Whoriskey. The role of the workers' callous boss is probably a better fit for Uzo Aduba than her recent role as a wealthy, emotionally frail therapist in the HBO mini-series In Treatment.

Off Broadway News
Richard Nelson has wrapped up his panorama of Rhinebeck plays. Except for the two plays that were Zoomed courtesy of COVID, all his Chekhovian get-togethers were staged at the Public Theater. But What Happened?: The Michaels Abroad will not be part of the Public's comebck season. Instead, Nelson has opted to give his new play an early comeback in an intimate setting by joining forces with Hunter Theater Project and its producer, Gregory Mosher And so, as the Michaels will bring actors and audiences together from August 28th to October 8th in the intimate 74-seat Frederick Loewe Theater at Hunter College the Michaels clan's get-together now plays out in Angora, France as they attend a student dance festival. The play unfolds in the present time — when both the characters on stage and the viewers are trying to find a way back from the upheavals and heartbreak of the pandemic. Nelson directs, as he usually does, and the cast includes the Rhinebeck play regulars, Maryann Plunkett, and Jay O. Sanders. Running time is one hour and fifty minutes with no intermission. Tickets are an affordable $39.50, $17.50 for students. Those attending must provide proof of completed immunization via Excelsior Pass or Vax Card, upon arrival. For more information and tickets, go to www.huntertheaterproject.org.

You can read Curtainup's reviews about the whole play series that began twelve years ago, just go to the special Google search box, type in This production is made possible by a generous grant from Susie Sainsbury.

After more than a year with little to laugh about, we can all use a few good laughs, and who better to bring it to us than playwright Douglas Carter Beane. With Fairycakes, he's brought us what the publicists describe as an uproarious clash of A Midsummer Night’s Dream and old-world fairy tales, This mashup allowed Beane to create a show in which characters must learn to get along with one another, find ways to connect and own up to their mistakes, and forgive others for their failings. While Beane's plays have been produced on many stages, he's premiering Fairycakes back to his first theatrical home, the Greenwich House Theater. Beane himself directs the large cast of theater luminaries, many who also began their careers downtown. So far it includes Mo Rocca, Alfie Fuller, Jackie Hoffman, Kuhoo Verma, Ann Harada, Jamen Nanthakuma, Julie Halston, Brooks Ashmanskas, and Jason Tam. For more invormation visit FairycakesThePlay.com. And go to https://www.playbill.com to keep track of all opening and re-opening announcements.

July 8, 2021 Update

Shows closed down or never opening continue to announce when they plan to come back. The all-black cast at the Delacorte Theater in Central Park will continue to make merry an extra three weeks to September 18th. And on Broadway, Bruce Springsteen isn't waiting until fall, but is at the St. James Theater now for a limited run that ends September 4th. Since this is essentially a live concert without the big cast, sets and costumes needed for typical Broadway musicals, it's easy to understand the decision not to wait until fall or even next year, like other Broadway shows. It's the same show that had people lined up around the block when it played at the Beacon, but longer and with some songs added to reflect the Black Lives Matter movement that gained momentum after the death of George Floyd.

Even if masks and distanced seating can be dispensed with by the time all these announced openings actually happen, financial considerations will affect what will induce audiences to come back. The most drastic change already announced pertains to the return of Harry Potter and the Cursed Child which was originally presented in two parts, requiring two tickets and more than 5 hours. It's been cut in half so it can be seen in a single performance and with just one ticket to buy. The show's return to Broadway is scheduled for November 16th. For my review for the original two-part version in 2018 go here.

New takes on often presented dramas are likely to continue, especially if it can be done in a streamlined staging, shades of the Waiting for Godot inspired Passing Strange mentioned in my June 7th blog update. Like that show the drastically streamlined Enemy of the People is currently running, in this csse at the Park Avenue Armory. Not only is the titular "Enemy" the sole actor but in this version is played by Ann Dowd. Those who nab a ticket ( $55) will be seated at one of 45 tables and become part of the show by voting the "enemy's" guilt. This version was commissioned by the Armory during the pandemic. Also expect to present proof of vaccination and a government-approved photo ID. The show began its summer run on June 22nd and will continue through August 8th. It's 90 minutes, unlike the more traditional versions' 2 1/2 hours.

In the meantime, The Lehman Trilogy, — the last show I saw and reviewed at the Armory has announced a 99-performance run at the Nederlander Theater on September 13th. No word about any cuts in the original 3 1/2 hour running time that included two intermissions (To read my review of the original go here).

Whether the return to normalcy will continue to show that the support of more inclusiveness pertaining to all aspects of theater making remains an open question. For example, one can't help wondering about why the producers are bringing back Neil Simon’s Plaza Suite festuring Matthew Broderick and Sarah Jessica Parker. The limited run at the Hudson Theater next February with ticket-selling stars sounds more like the old than the new normal to me. But who knows. . . maybe director John Benjamin Hickey has some "woke" tricks up his sleeve.

June 7, 2021 Update

Signs of a life where we can actually smile and know the person we're smiling at can see it keep gaining momentum. News about New York's comeback from a heartbreaking year include more announcements of opening and reopening dates at Broadway theaters. Hopefully, the theaters off as well as on Broadway will be able to recover from the extended losses and win back former theatergoers as well as those for whom going to a show isn't a regular habit.

T One show that isn't waiting for Fall to play to a full capacity Broadway theater is Pass Over. This contemporary take on Samuel Beckett's Waiting for Godot by Antoinette Nwandu. has just three actors and requires no intermission at just 85 minutes and therefore involves none of the difficulties of staging a play with a large cast and complicated scenery. Nwandu's concept also fits the need for more relevant storytelling. The play, which reprises a 2018 production at Lincoln Center Theater, will have a limited run at the 1,190-seat August Wilson Theatre from August 4th until October 10th.

An even earlier new take on an often produced play brings back the Public Theater's free Shakespeare in the Park on July 6th. The Merry Wives of Windsor, adapted by Jocelyn Bioh and directed by Saheem Ali for an all black cast is the only production on this year's menu. But one is infinitely better than last year's none, and Bloh's Wives will make merry three weeks longer than usual, until September 18th. With the state guidelines for limited seating, social distancing and masking still in effect, the 1,800-seat theater will admit only 428 Shakespeare enthusiasts for each performance.

Wonderful as it will be to have Broadway full of life and vibrancy again, the streaming platforms continue to entice viewers to check out new as well as older theater-centric films, serials, and documentaries.

Since the filmed version of Hamilton was truly satisfying, I have high hopes for the stage-to-screen version of Lin-Manuel Miranda's first musical, In the Heights which on June 10th opens in movie theaters and for 31 days at HBO MAX. (my review of the stage version).

A note about a made-for-screen-watching, The Kominsky Method, an oiiginal series that recently opened its third and final season. It stars Michael Douglas an actor who has always practiced his craft in front of cameras. His portrayal of much married Hollywood acting coach Sandy Kominsky dealing with regrets, aging, and loss of his best friend (Alan Arkin another of filmdom's gems) is a master class of inhabiting a character with depth and humor.

As actors like Douglas exemplify acting for the screen at its best, memorably, so Chuck Lorre, The Kominsky Method's creator proves that a sitcom setup can breathe with rich emotional life. Who except a master of this episodic format could make third and final season at Netflix work even though Arkin left the show at the end of sSeason 2. It's like doing The Odd Couple with Just Felix or Oscar. Yet it works. Lorre has killed off Arkin's character and his memorial service humorously introduces all the characters and then moves into more serious territory. Some of the episodes lose steam when Douglas isn't front and center, and if this were a stage play those segments would be cut with details from the first two seasons also trimmed. But then this isn't a live play, but a lively and original streamed entertainment.

Finally, a less high profile series that ended its third season a decade ago, is back. I'm not a mental health professional so for me the series was all about Gabriel Byrne's interpretation of In Treatment's practitioner of what's often referred to as "The Talking Cure." He managed to make Paul Weston memorably watchable. His patients too were portrayed by some outstanding thespians.

The weekly sessions with each patient were involving enough to work like small plays. That included Paul's own personal problems as revealed during one-on-ones with his own professional mentor (Diane Wiest). As the show played out weekly on TV, it gained enough of a following for a third season that focused on Paul's own traumas with a new therapist (Amy Ryan).

The type of therapy that Paul questioned in that third season is now back, with a brand-new fourth In Session still following the original format, but shorter with African-American actress Uzo Aduba in the listener's seat. But while the three patients certainly have problems, Dr. Brooke Taylor is herself so deeply troubled from the get-go that this is basically her show. While a fresh approach makes sense, this update doesn't add up to a real Wow. And the personal trauma of Aduba's Brooke isn't exactly new enough to win a fan base as Byrne's Dr Weston did. Still, Aduba is an Emmy Award winning actress with enough fans to make this In Treatment clickbait — especially since HBO has now opted to make the whole season available for streaming on June 14th rather than stick with a week-at-a-time release schedule.

May 17, 2021 Update
When the Daryl Roth Theater opened its doors to New Yorkers starved for watching a show facing a stage rather than a screen, Blindness, the play presented, didn't have an actor on that stage. A script delivered by a recorded voice, with light and sound technology instead of scenery, hardly afforded that special something associated with live theater. Yet its opening got as much attention as a star-studded new musical like Hamilton by Lin-Manuel Miranda.

The big news this past week was that the Broadway theaters are back in business now that COVID requirements for opening only with limited audiences have been lifted. My mailbox has been stuffed with announcements of opening and reopened dates as of Sept. 14.

That's not to say that producers can forget the pandemic. Safety measures are still needed to make audiences comfortable enough to accept this new normal. The safety of actors and backstage personnel too will still require caution.

. Even when all these plans for New York to get back its sizzle materialize, the onscreen world willl continue to be more theatrical than ever. As I've noted in past blog entries and sreening features, small as well as large organizations will film productions to tap into larger, more diverse audiences. And I will continue to cover new offerings with sturdy theatrical legs and search out older movies that resonate as much, if not more, today as originally. With that in mind, let's move on to my most recent onscreen outings.

My "most anticipated" new series for 2022: The Gilded Age
This costume drama by Christian Fellowes was filmed in New England for HBO during the pandemic. Its starry cast includes Audra McDonald, Kelli O'Hara, Christine Baranski, Nathan Lane, Debra Monk, Cynthia Nixon, and Denée Benton.

More Broadway and off-Broadway onscreen outings
Oscar Wilde's The Importance of Being Earnest presented by L.A. Theatre Works is another great opportunity to see a top quality production of a classic work. The Roundabout Theatre Company's 2011 production was directed by and starred Brian Bedford. It was filmed live in HD direct from the Broadway stage. One of my favorite actors, David Hyde-Pierce, hosted the presentation and an intermission with Alfred Molina and UCLA School of Television, Film and Theater professor Michael Hackett. Tickets to watch are $15 and available through June 30th. For ordering details
https://www.theatermania.stream/packages/the-importance-of-being-earnest To read my review during its Broadway run go here.

The Niceties is a reprise from Manhattan Theater Club. Featuring just two actors sitting in chairs, it's obviously easier to film live and even adapt especially for virtual viwing. This virtual version will premiere on May 27 and runs through June 13th. Tickets are free and can be reserved at www.manhattantheatreclub.com/mtc-now-showing. To read my 2018 review go here,

Over at the Mint, their archived Silver Lining Streaming Series has now added George Kelly's Fatal Weakness from May 17th to June 27th. It's free with no password required.

Three oldies but goodies at HBO and Amazon
Documentaries are category that the streaming platforms have embraced to the point of overkill. But I've discovered enough that are genuinely interesting and entertainig to make the search worthwhile. My most recent find was Arthur Miller-Writer filmed by Rebecca Miller, the daughter of his third and happest marriage to Inge Morath.

I've been fortunate to have seen all of Miller's plays, quite a few several times. I also read his own memoir, Mindbed, but there's something fresh and intimate about this very personal documentary based on years of daughter and father interviews. Besides commentary from his other children, and notables like Tony Kushner and Mike Nichols — who directed the Broadway revival of . .Salesman that starred Philip Hoffman — the hour and twenty minutes features footage from both his Connecticut life and some of the plays. It all adds up to a combination documentary-memoir. For the Miller chapter in CurtainUp's Playwright' Album go here.

I loved Jhumpa Lahiri's novel The Namesake but never got around to seeing the movie adaptation. Thanks to HBO's terrific collection of quality films, I was able to play catchup last week. Director Mira Nair has been true to this story of a Bengali-American family that mirrors the stories of immigrants from other countriesc. The movie, like the book, covers some 30 years of a Bengali couple's life. It starts with their arranged marriage in India, then moves on to their life in New York and New England where their relationship blossoms into genuine love. They enjoy the American dream but remain both American and Indian by developing close friendships with other Bengali-Americns. In the second part of the 120 minutes, the focus shifts from Ashima and Ashoke to their totallly Americanized children, especially their son Gogol. His name is a key element of the unique subtlety with which the personaties and relationships were developed by Lahiri, and brought to life by Nair and the actors.

Another gem I caught up with was Cross Creek at Amazon. It follows Marjorie Kinnan Rawlings to Florida, where she wrote her 1939 Pulitzer Prize winning The Yearling. While a new biography by Ann McCutchan has been well received and is on my list of books to read, no book can match the vivid cinemetography of the 1982 movie directed by southern setting specialist Martin Ritt and starring Mary Steenburgen. Rawlings' neighbors in the Everglades include the little girl who inspred The Yearling. Like Steenburgen, the actors portrayimg these Floridians add to the the film's pleasures, notably Rick Torn as the little girl's rough but very human father and Peter Coyote as the local store owner who breaks down her resistance to marriage. Steenburgen's real life husband at the time, Malcolm McDowell, makes several appearances as the iconic editor Maxwell Perkins.

Rawlings is no longer taught because of racist refernces and attitudes, but this WAS how Florida was and she was regarded as more broad and fair minded than most Floridians. Even though The Yearling is no longer on school library book shelves, it's still in print and the movie adaptation is available to stream at Amazon.

List of Broadway's first back in business dates

Chicago at the mbassador Theater Sept. 14.
Hamilton at the Richard Rodgers Theater Sept. 14.
The Lion King at the Minskoff Theater Sept. 14.
Wicked at the Gershwin Theater Sept. 14.
American Utopia at a theater to be announced Sept. 1.
Six at the Brooks Atkinson Theater Sept. 17.
Come From Away at the Gerald Schoenfeld Theater Sept. 21.
Aladdin at the New Amsterdam Theater Sept. 28.
Moulin Rouge! The Musical at the Al Hirschfeld Theater Sept. 24.
Caroline, or Change at Studio 54 Oct. 8; non-subscription tickets on sale July 28 at Roundabouttheatre.org.
Tina: The Tina Turner Musical at the Lunt-Fontanne Theater Oct. 8.
Ain’t Too Proud at the Imperial Theater Oct. 16.
Jagged Little Pill at the Broadhurst Theater Oct. 21.
Mrs. Doubtfire at the Stephen Sondheim Theater Oct. 21.
The Phantom of the Opera at the Majestic Theater Oct. 22.
Trouble in Mind at the American Airlines Theater Oct. 29; non-subscription tickets on sale July 28 at Roundabouttheatre.org.
Flying Over Sunset at the Vivian Beaumont Theater Nov. 4.
Diana at the Longacre Theater Dec. 1.
MJ at the Neil Simon Theater Dec. 6.
Dear Evan Hansen at the Music Box Theater Dec. 11.
Company at the Bernard B. Jacobs Theater Dec. 20.

April 27, 2021 Update
Unsurprisingly, shows I've streamed and written about were a dominant presence at this year's COVID-conscious Oscar ceremony. The 37 Netflix nominees should help the streaming giant to hold on to its status as the top platform. If there was a word that would apply to all the winners, it would be "first" — first for the Black actress Viola Davis to win the most Best Actress nominations (Ma Raney's Black Bottom), yet cede the win to Frances McDormand (Nomadland). That play did make Chloé Zhao, who is Chinese, the first woman of color to win the award for best director.

Ma Rainey also included another almost first, a posthumous Best Actor first for Chadwick Boseman. But Anthony Hopkins, at age 82 became the first octogenarian to do so. (The Father).

Ma Rainey did make Mia Neal and Jamika Wilson the first African-American women to nab the makeup and hairstyling Oscar. However, the ceremony itself did little to win back the audience it's been losing for years.

The long dead playwright who still attracts more new interpretations by directors and actors remains William Shakespeare. Romeo and Juliet, his early star-crossed romance is no exception. Director Simon Goodwin's version filmed at the National Theater and adapted for screening by Emily Burns is now available for streaming as part of PBS's Great Performances (https://www.pbs.org/video/romeo-juliet-eibhz4/). This 90-minute production (half its usual length) will have purists looking in vain for customary scenic bells and whistles, and even parts of its verbal gems. Viewers more accustomed to fast-paced storytelling may actually prefer this very contemporary, filmic take — especially with two Netflix stars, Josh O'Connor (The Crown) and Jessie Buckley (I'm Thinking of Ending Things) playing Romeo and Juliet. Neither is a teenager but then it takes mature talent to tap into the emotions and nuances of their roles. Supported as they are by a diverse cast of more seasoned Shakespeare role inhabiters, this is indeed a great opportunity for even audiences whose only exposure to Shakespeare was in high school (probably a reading assignment or a copy of a film mounted on a classroom screen — most likely Julius Caesar/).

Despite Shakespeare's continued popularity, those not smitten include prominent writers. Leo Tolstoy made no secret of their disdain; neither did George Bernard Shaw who during his three years as a theater critic dismissed some of his plays as "melodramas" and "potboilers." Shaw did give Shakespeare credit for his linguistic versatility and mellowed somewhat during his later years, Perhaps, the new smartly cast, filmed and performed Romeo and Juliet will mellow some in that anti-Shakespeare camp.

While you're over at the THIRTEEN website be sure to check out American Oz, the fascinating addition to their American Experience documentaries. It's a biography of Frank Baum the author of The Wizard of Oz, the all-time best selling children's book that turned into a whole series of Oz book, a play and the famous movie starring Judy Garland. The movie, besides being one of those favorite annual TV revivals, has had many newly interpreted stage spin-offs such the musicals The Wiz and Wicked. If you're not a THIRTEEN Passport subscriber you can rent or buy it at Amazon. This series features many others worth your time. The one about Lorraine Hansberry is still incredibly moving. even more. I There's also the Finding Your Roots series that's in its seventh season. The latest celebrities discovering their roots with historian Henry Louis Gates are Audra McDonald and Mandy Patinkin (https://www.thirteen.org/).

My search for the wheat hidden beneath the chaff recently turned up a filmed adaptation of Donald Margulies's Pulitzer Prize-winning Dinner With Friends at HBO-MAX. While dealing with the end of still new and exciting marriages and friendships may not seem all that critical these days, this tragi-comedy still deals with ever relevant aspects of our lives. The movie cast captures the characters as well as the award-winning cast I saw during its initial run at the long gone Variety Arts Theater.

Another film adaptation of a play by a Pulitzer Prize-winning playwright that you can now watch onscreen is Nilo Cruz's Two Sisters and a Piano. This one is newly filmed for streaming by New Normal Rep and available at YouTube until May 23rd. (https://www.youtube.com/watch?v=KRekwRiKnxg). It's directed by Cruz and one of the sisters is played by Daphne Rubin-Vega who also starred in the live production I saw at the Public Theater (review).

Speaking of the Public thester, their streamed production of The Line is back in respones to popular demand. You can view it amy time until June 21st, by clicking over to https://publictheater.org/media-center/series/the-line-encore/the-line2/
April 22, 2021 Update
News about reopened theaters continues and will escalate as we keep wrestling COVID towards herd immunity. But theater will continue to reflect the pandemic's inroads on normalcy. Limited seating, strictly observed safety rules aren't going to disappear any time soon, nor are intermissions likely to make a quick comeback even when health protocols can be eased or abandoned. The financial losses resulting from the long shutdown will also keep what's on offer smaller and less expensive to produce. Belt tightening will also apply to big shows, for example, fewer musicians in orchestras for musicals.

Right now, theater is still more virtual than live, with what we see at streaming platforms like Netflix and Amazon, as well as the websites of theaters that have made filmed versions of past productions available. Next up in the latter category, another freshly filmed revival by the Irish Repertory Company of Elaine Murphy's triple monologue Little Gem. It stars Marsha Mason, Lauren O'Leary & Brenda Meaney and runs from April 27 to May 9. For more information before I post my review, click over to the Rep website at https://irishrep.org/

I look forward to seeing how theater organizations will continue to take advantage of the great value in the digital marketplace that has taken virtual performance as a valuable audience builder and not just a survival tool. While companies like the Irish Repertory Company have been especially innovative in their streamed offerings it will require partnering with filmmakers accustomed to capturing live productions successfully and skilled podcast producers to help use that burgeoning addition to the cultural infrastructure to keep these new audiences coming.

And so, while I don't think anyone can count on a return to theater-as-usual, I do envision a future that crests new opportunities to include more people than ever. Given the flood of movies and series on their home pages, I'll continue to dig out the weeds from the chaff, in hopes of discovering what is best suited to the theatergoer's tastes and expectations.

For sure, the series concept of storytelling is here to stay, as are choices about watching it a week at a time as was once the custom when TV reigned the media landscape. What's more. it seeds further cross-pollination between cultural forms — for example, while waiting for the next season of The Crown series, the real royals have provided plenty of stories thus marrying print and streaming media. The fascination with all things royal has also prompted PBS to produce Atlantic Crossing, a series about the Danish royal family. (Though based on actual events and characters, it's heavily fictionalized.)

The marriage of all storytelling formats at once is currently best exemplified by book and movie versions of Nomadland, a PBS Independent lens documentary and interactive events with the book's author. And speaking of documentary films their popularity is understandable. However, though a worthy format, it's been way too overdone and thus tends to take up much of my wheat-from-chaff separating time.

April 8, 2021 Update
Trees will soon be bursting into blossoms. After more than a year of lives on hold, hope for living more fully once again springs into our hearts. For theater enthusiasts that means that more and more theaters will reopen. So far it's been in baby steps, and audiences have been small — either by requirements for observing strict safety protocols, or nervousness about gathering with strangers before absolute herd immunity.

One of the most high profile baby steps has been taken by producer Daryl Roth at the Union Square venue that bears her name. After a successful trial run at London's Donmar Playhouse a limited, safely distance audience can gather at the theater to experience Simon Stephens' light-and sound-adaptation of Blindness, based on Jose Saramago's dystopian novel.

So far, the theater has had no lack of people eager to get back to live theater even if it's still with only actors' voices and light and sound effects rather than the scenery we expect to see. Naturally everyone who cares about the theater is going to want to support this or any other venture that bolsters hope for a return New York as a the epicenter of cultural life. This is even more true for theater critics, though with the pandemic still lurking like clouds on a sunny day, critics as well as theater goers are still not all ready to put live culture before health officials advice for more caution.

The critics who did go to see — or rather to hear — the actors narrate the story have raved about its pleasures. The only exception has been New York Magazine's Helen Shaw. She did praise it's execution but "not ravishing . . .not worth getting sick for. " As she pointed out, the climbing infections in our city had her wondering it it would not have been wiser to listen to the message of the play which is, after all, about a plague.

Sight and sound unseen, I tend to agree with Shaw. The fact that our Mayor was outside to cheer on the production but too busy to go in was hardly surprising. After all the threater for the De Blasios of this world is politics. And De Blasio has not exactly been a steady presence on or off Broadway As I've never been a huge fan of dystopian narratives, no matter how intriguingly conceived, I'm not sure I'd want to spend time with Blindness, even if Helen Shaw's wish for it to be possible to listen to it in the comfort and safety of my home were realized.

I did quite enjoy having the veteran actor John Cullum visit my home screen to reminisce about his more than half-a-century long career on stage as well as big an small screen. While John Cullum: An Accidental Star was originally intended as a cabaret, he's got enough charm to make it work in the current bare bones film version.

Even as the baby steps get larger and Broadway can be Broadway again, consumer habits have changed and the availability of filmed shows is enough of an audience builder to continue to be an option. That is already the case with Diana, the new musica; that had nine previews on Broadway and was filmed without an audience. Therefore; it will be available to stream on Netflix as of October 1, before resuming live performances on December 1.

March 30, 2021 Update
With more and more people fully vaccinated, it remained the better part of wisdom not to rush into an "old normal" way of living. That meant Passover still called for fewer family members gathered arouncd the Seder table and sticking to masks and social distancing. It was only by being as strict about observing safety rules as the characters of Shtisel are about adhering to ultra-orthodox Jewish customs, that the hit series' creators were able to bring us a much awaited third season. Per my just posted review, it was worth waiting for.

I'm not a foodie and don't usually watch cooking documentaries. However, Stanley Tucci is one of my favorite stage and film actors, so the chance to follow him on his trip to Italy in search of meals to sample was irresistible — especially during this long and lonely year when the only trips most of us took were to the grocery store. Obviously enough other people have enjoyed their armchaiir trips to six different regions for a follow-up season to be on the horizon. The six episodes may be watched in any order and are available at CNN-on demand.

With documentaries flooding our screens, there are some recent ones that have struck me as unnecessary additional public airings of scandals already excessively covered in the media. Two cases in point: Allen vs. Farrow at Netflix, and The College Admission Scandal at HBO. I didn't make it through more than one episode of each. On the other hand, Joan Didion, The Center Will Not Hold that I stumbled across in my search for hidden Netflix gems turned out to be so— so is Everything is Copy- Nora Ephron: Scripted & Unscripted at HBO.

Finally, a reminder, that Yours Unfaithfully, one of the plays archived by the invaluable Mint Theater Company is now available for streaming thrugh May 16th. I was fortunate enough to see the play live. To read my review go here.

March 12, 2021 Update.
A royal interview triggers the reality show's comeback. . . Season 3 of Shtisel coming to Netflix. . . the return of live musical theater will include The Queen's Gambit. . .

Bingeing series after series of The Crown has been one of the most popular ways to forget about COVID and follow the season-to-sesson shifts ofa actors playing the British royals who have fascinated people all over the world, and enriched the tabloid press. But with fifth sesson still as uncertain as our return to normalcy, two of the real live royals have brought back tell-all reality courtesy of a 2-hour interiew with the queen of tell-all interview hosting, Oprah Winfrey. Popular as the series has been for Netflix, I doubt it's matched the audience it attracted initially and continues to nab thrugh the extensive media coverage. That said, as Netflix doesn't share its exact clik numbers, neither can the network ratings know whether the person tuned in is actually paying attention or might be eating or sleeping.

In the meantime, a Netflix hit series that has another season ready for subscribers to view is Shtisel. I reviewed the first two seasons of this series about an ultra-orthodox family in Jerusalem together with The Marvelous Mrs. Maizel about another Jewish family — but this one American — and its focus on the failed marriage and successful stand-up comic career of its the titular charscter. Given the name recognition of the Maisel series cast and t he more relatable plot, I opted to review the Shtisel family saga mainly to see how a show with with Hebrew dialogue and about characters and a lifestyle most of us know little about was likely to be a strong clickbait at Netflix.

But surprise, surprise: While I failed to find Mrs. Maisel all that marvelous, I couldn't stop watching the Shistel family's doing. Despite those awful side curls and beard, Michael Alon's Akiva proved to have matinee idol charm. The religious backround added texture and authenticity to what is essentially a soap opera, but one with depth and meaning.

Not only did Shtisel become a global hit on Netflix but so did their 4-episode drama with a quite different take on ultra-orthodox Jewish life, Unorthodox. If you haven't seen Shtisel or want a refresher before Season 3 becomes available on March 25th, it's still available to stream, and so is Unorthodox.

Though we're hardly out of the woods in terms of the return to normalcy, inluding a chance to attend live rather than watching on on screen, there are plans to adapt The Queen's Gambit, another atypcal hit series at Netflix, as a stage musical. Actually, this wouldn't be the first time to turn those chess moves into song and dance numbers, though unlike The Queen's Gambit, the show wasn't a winner. (a href="chessdc.html"> a link ro production we reviewed).

Until theaters can once again fill all their seats and present coventionally staged shows with stories told by more than one or two actors, with costumes and scenery — the Daryl Roth Theatre at Union Square is presenting Blindness to a live audience as of next week. It's an audio adaptation by noted playwright Simon Stephens of Nobel laureate José Saramago's novel in which a Storyteller/Doctor's wife describes a world changed forever in the blink of an eye by an unimaginable global pandemic. The response to the initial Donmar Warehouse poduction was strong enough to bring it to New York. Now as then, strict pandemic protocols will be followed and tickets starting at $45 must be bought in pairs. Here's the link for more details and ticket reservations: http://www.darylroththeatre.com/productions/blindness/.

February 24,2021 Update. The pandemic has brought two atypical new stars to the Netflix lineup of originals to make their ten most watched list — the handsome 31-year old British-Zimbabwean actor, Regé-Jean Page and Fran Liebowitz, the 70-year-old caustic wit. In Brdgerton, based on romance writer Julia Quin’s novels, brings a romantic lead of color to the usually all-white romantic costume drama. In Pretend it's a City, Liebowitz just ambles around the streets of New York and schmoozes with her friend and the series producer, Martin Scorsese, making no secret of her age, sexual identity and anti-internet life style.

Liebowitz, unlike Page, has been a fixture on the New York cultural scene. Since writing two books as well as a column for Andy Warhol's magazine she's claimed to suffer from writer's block and instead supported herself as a well-paid guest on countless TV interview shows, as occasional acting gigs. Now, Pretend It's a City has endeared her to the social media crowd whose communications devices she's shunned.

Even though Liebowitz tends to pretty much return to her basic theme song — her New Jersey childhood, and love affair with New York — I found the seven half-hour episodes of the Netflix series amusing enough to watch all in just two evenings. On the other hand, neither the lavish production values, generous servings of sex, or the woke casting of Page, Bridgerton struck me as a second-rate, wannabe Jane Austen entertainment. I gave up in the middle of the second episode.

Obviously, the Netflix viewers who have elevated Bridgerton to the ten most watched category don't agree with me. However, quite a number of readers of my blogs and streaming features have sent emails about their own quickly aborted viewings. Unlike series like The Queen's Gambit and The Dig, which appealed to all ages and tastes, Bridgerton didn't hit home for that huge an audience.

Though Pretend It's a City is a far less complicated production than Bridgerton it does have a spectacular scenic element — the city of New York with its busy streets that Liebowitz still roamed without the need for a mask. Therefore, aa she and Scorsese needed no add-on coda to explain that the show was filmed pre-pandemic. Watching it almost a year since the offices in Manhattan's high rise landscape emptied out and theaters shut down did have me wondering if Liebowitz could wrest any amusing bon mots from the changes in her beloved city and whether dealing with surviving the lockdown had her finally cave in and get a cell phone.

Like the rest of us, Liebowitz has been forced to spend more time at home and observe safety protocols. But she's still doing interviews to promote Pretend It's a City. However, she neither zooms or texts but remains devoted to her landline. And she hasn't given up on her belief that New York is a tough but great place. As she sees it, cities never stay the same. Sometimes they change for the worse.

And that brings me to what a comeback to a more normal life will mean once all of us are vaccinated. For many of us the most important return to normalcy will mean that we can meet with family and friends and see their whole facea. But when it comes to large gatherings, masks and other safety measures will be with us for a long time. As for the theater, the financial losses will make one-and- two person shows and modest production values the norm for a long time.

To get back to Liebowitz's observation that cities always change, this is as true for small towns as well. The closing of factories have devastated many small towns for years. Some manage to reinvent themselves as North Adams, Massachusetts did by converting its closed factories into MASS MoCA. Not so for Richard Russo's Pulitzer Prize-winning novel Empire Falls, about how shameful pollution of the town's natural resources led to the decline of a small town in Maine. That brings me back to my disappointment with the BBC series adaptation of Elizabeth Jane Howard's The Cazalet Chronicles. The failure to capture all the books's characters and plots into the series made for s finale that was too abrupt and not true to the power of the entire epic. Since Russo tackled the page to screen series himself, the mini-series provides as rich an experience as reading Empire Falls did. And the actors portraying the novel's panorama of characters are all A-list. Fortunately the two parts, divided into 5 chapters each, is still available to stream at Amazon Prime.

Finally, even as we're still processing the incredible number of lives lost during the past year, the latest tragedy that befell one man — the sports world icon Tiger Woods — suddenly became The story dominating every news outlet. You don't have to be a golf enthusiast to be moved to tears by the recent HBO documentary about Tiger's life, which makes his latest trauma yet another chapter in a story at once inspiring and incredibly tragic.

For me, the news of Tiger's accident reminded me of my husband's never forgotten golf experience at the time of another tragic moment in history. He and a friend were out golfing when someone came to the hole they were at and told them that President Kennedy had been shot. When this was followed with the news that Kennedy was dead, my husband put down his clubs, left and came home. His friend and a priest who was playing with them stayed and finished the game. His golfing buddy and other golfers to whom he mentioned how my husband had walked out on the game all said, "well, he's not a real golfer."

Eventually, my husband did go back to golfing -- just as, hopefully, all of us will go back to many of the activities probably on hold for some time to come.

January 16, 2021 Update — When our already surreal lives take a climactic turn . . . .

The drama of the real life horror show unfolding, not at a theater or streaming platform but in the hallowed halls of our Capitol, has undone even my efforts to add some meaningful content to CurtainUp — at least until Joe Biden and Kamala Harris assume the posts to which they were legally elected.

Since March my online theater outings were geared to search out the massive content on platforms like Netflix for new stageworthy content as well as older gems worth getting to know or revisit. Sure, this kind of onscreen rather than live entertainment was always a way to deal with this suddenly isolated lifestyle. But with the Trump presidency in its horrific final act has made it hard to stay focused on anything but the efforts to hold onto power by Trump and his enablers. And so, instead of treating the "play button" as if it were the same as the houselights dimming, I've surfed from channel to channel, often fast forwarding and no longer taking notes as has been my habit as a critic.

Fran Lebowitz's half-hour ramblings around Manhattan when its streets were still busy had me actually chuckling a few times. Between the day I watched the first of the 7 episodes of Pretend It's a City on Netfilx and the last (and my favorite) about books and bookstores, the city of Washington turned from mayhem into a fortress and Trump was impeached for the second time..

Martim Scorsese, her companion during the interludes at The Players' Club and the show's producer, hasn't added a coda for him and Lebowitz to comment on how New York has changed since they filmed this. Probably wisely so, since even the always witty Lebowitz would have a hard time wrestling any laughs from today's New York scene. I suspect she would have to cave in on her "no cell phone" mantra today so this new relationship with technology might just seed some funny observations. Lebowitz did do an interview after 2016 (available at YouTube) when she, who claimed to always be right, owned up to being totally wrong about the likelihood of Trump's being elected.

As the rollout of the vaccine added to the difficulties of life in a deadly pandemic, Netflix added a fourth season of Last Tango in Halifax, which takes its senior lovebirds into a 7-year-itch stage of their marriage. With Derek Jacoby, one of Great Britain's greatest actors, and Anne Reid as the better-late-than-never marrieds, the quiet charm their story, and that of the rest of their family members proved a respite from the chaos all around us. That said, Images of them wearing masks and being at high risk kept getting in the way of relaxing into the nostalgic pleasure of the current season.

The online outing that probably took my mind off current events most completely was my revisit to Kenneth Lonergan's long-in-the-making movie, Margaret. And that's not because because it was a fast-paced, action-packed entertainment that made me laugh as Fran Lebowitz did. In fact it's slow-moving, talky tragedy inspired and named for a Gerard Manley Hopkins poem about a youg girl's early intimations of mortality. The tragic encounter with death by Lonergan's central character gives Margaret an all too real, punch-in-the-heart timeliness. For theater buffs it's also a chance to see some of their favorite Broadway and Off-Broadway actors (including Anna Paquin in her breakout role and Lonergan himself as her character's father).

The list of shows whose lives were cut short by the pandemic now includes Mean Girls, Frozen, Hangmen and the latest Who's Afraid of Virginia Wolf? And as if trying to survive weren't enough, one of New Yorks jewels for all who love musical theater, the York Theater Company in St. Peter's Church on Lexington Avenue, has suffered extensive damage and lost equipment and archived scripts from a severe flood. If you type York Theater in the enhanced with Google box, you'll see links to the many memorable shows we've covered there. Here's wishing them luck in saving their distinguished history.

December 24. 2020 Update
In my review of the wonderful new filmed version of August Wilson's Ma Rainey's Black Bottom I said that I thought that if the playwright were still alive he might approve of what George C. Wolfe and Ruben Sandiego-Hudson did with it . According to David Gordon's interview with Wilson's widow, she agrees. that what they did accentuated their understanding of his language and that his message was always about Black lives matter.

I doubt if Jonathan Bank would ever take the liberties Wolfe and Santiago Hudson did since the plays he's been presenting to the Mint Theater's many fans for years are not revered masterpieces by a playwright who's named a theater after him. Instead the Mint's mission is to provide a platform for overlooked works and talent. The Mint is now presenting another season of past plays filmed during their live runs and now available for limited, FREE virtual runs. Since all were reviewed before the Curtainup freeze, following is a list of what he has lined up through next spring with links to the reviews.
Women Without Men2/02 to 3/21
Days to Come2/04 to 2/21
Yours Unfaithfully 3/22 to 5/ 16
A Picture of Autumn329 to 5/29
Fatal Weakness5/19 to 6/13

A great holiday present for all of us is, of course, the arrival of the first doses of . COVID vaccine to make the return to a more normal life style possible. Normal, yes. . .but it won't ever be the same in terms of how we'll consume and appreciate entertainment. I've always loved the movies but these many months of going to the theater via my ipad have not only been a life saver, but doubled and trippled my appreciation of the close-up, the convenience and a really well-made stage to screen work.

Naturally, those creating entertainment — whethr for streaming platforms, TV or live live theater — will make only gems like the stage-to-screen Ma Rainey or the stunning page-to-screen The Queen's Gambit. Greed and economic necessity are unlikely to put an end to celebrity casting and less than newly relevatory replays of proven favorites.

Bridgerton, a new period drama series debuting Christmas day at Netflix is using the work of a living novelist Julia quinn rather than the done to death Jane Austin. But then, perhaps someone is concocting a series about a living Austen who's grinding out so many historical romances that she needs to publish some with a pseudonym.

For March thrugh December 2020 blog entries go here

Stay safe