Linda

She's a power player.  She's stunning at 50 - always was and will be for quite a while longer.  She's successful, strong, and confident.  She was on a mission when she started her career - change the world - one face at a time.  Beauty products - with a message and values.  In Penelope Skinner's new play, Linda appears to have it all - however behind the scenes cracks are beginning to show - with her husband, her daughters, and her career itself.

Janie Dee (Linda Wilde) takes the stage and wrings every last drop out of it.  She takes no prisoners.  Her daughters Jennifer Ikeda (Alice) and Molly Ranson (Bridget) bring both joy and angst to Linda's life.  As the show progresses we see how life is changing around her ideals and how they just might not work for her anymore.  Molly Griggs (Amy) throws quite possibly the biggest wrench in the works.

The play is a tour de force with only minor wrinkles and distractions.  Top notch directing by artistic director Lynne Meadow brings this show to a formidable life.  Linda has to look herself in the mirror every day.  Go see what she comes of it.

Bad Jews

Joshua Harmon's new play just got promoted upstairs! Roundabout moved the bitingly funny play from the black-box theater downstairs to the Laura Pels stage for a run during their 2013-2014 subscription.

The play centers around 3 cousins gathering in NYC on Riverside  Drive the during the funeral and Shiva period after their grandfather's (Papi's) death.  Central to the evening's controversy is uber-Jew, Daphna (aka Diana) Feygenbaum, (Tracee Chimo) who seemingly thrives on divisiveness and contentiousness ("We're not arguing, we're talking" she explains at one point).  She clearly dominates her introverted cousin, Jonah Haber (Phillip Ettinger), and clashes head-on with her nemesis and other cousin (and brother of Jonah), Liam (aka Shlomo) Haber (Michael Zegen).  Molly Ranson plays the mousy girlfriend, (Melody) of Liam who unwittingly ends up being the reason for much of the angst-ridden family debate and vitriol.

It's a cauldron of Jewish issues of cultural assimilation, religious beliefs (and the ones chosen to be ignored), and most of all, family.  Everyone, Jewish or not, can find a nugget of family in this play despite the specifics of this plot.  By the end of the 1:35 minute run you'll be exhausted yet relieved at the same time.  You can only take so much family time at once, after all.

Carrie

Re-imagined.  Re-invented.  Resurrected.  Remarkable!

OK, so i have never seen the cult movie (shame on me, i know).  I also didn't get to see the prior incarnation on Broadway that cost over $8 Million and lasted a sum total of 16 previews and 5 performances (all sold out, i note) before closing to scathing reviews which caused the backers to pull their money out.  It was so bad in its last incarnation that it drove Ken Mandelbaum to name his book of musical flops, Not since Carrie, Forty Years of Broadway Musical Flops, after it.

Ladies and Gentleman, this new production is nothing like its predecessor.  Nothing!   It's young, fresh, easy on the eyes, less bloody and bat-shit-crazy, and employs some pretty nifty video projection technology to enhance the story.  Religion is present, but not overplayed.  The true story of love, bullying, fear, friendship, and forgiveness shines thru like a beacon in the fog.  The music and lyrics by Michael Gore and Dean Pitchford fill the entire theatre (yes, that absolute dump on Christopher Street).  Choreography by Matt Williams is light, modern, and engaging, although everything with high school kids seems to remind me of Spring Awakening these days.

Without a single doubt, Molly Ranson (Carrie White) and Marin Mazzie (Margaret White) are both engaged in Tony-worthy performances (if, of course, an off-Broadway show could indeed be nominated!).   As a matter of fact, although this show is off-Broadway at the Lortel Theatre (the aforementioned dump), if i didn't actually know that, I'd come out suggesting multiple Tony noms for this production.

Yes, I know it really sounds odd that a musical about a Stephen King book might be a good idea, but at its core, this show has heart.  Lots of it.  And now that we have some decent technology, nobody has to actually attempt to blow up the stage 8 times a week.  Mean kids, bullying, a jock with a heart, and a beautiful girl hidden behind her fears take this former flop to great new heights.  Don't miss your chance to see the a makeover every producer of HGTV programming would be jealous of.  Carrie looks like the surprise musical sensation of the season!

The Burnt Part Boys

What a thrill to see a new show that really blows you away.  This is a joint production between Playwrights Horizons and The Vineyard Theatre.  It's been in development for about a year on various stages and this stop on 42nd Street is a true winner.

Pete (Al Calderone) runs away with his best buddy Dusty (Noah Galvin) to try and preserve the memory of his father who was killed in a mine explosion (hence the title, the Burnt Part... of the mine).  Chet his older brother (Andrew Durand) and his best buddy Jake (Charlie Brady) chase after them.  The story is a powerful ode to family and memory, growing up, chasing a dream, and a fight to "get out" vs the need to "stay".   The power behind this show is the music - one strong ballad after another and a cast that can fill the theatre from the front row to the very last.  Kudos to the entire creative team - Mariana Elder (book), Chris Miller (music), and Nathan Tysen (lyrics)  The creative direction (Joe Calarco) and use of the stage, ramps, and aisles during the performance drew you in even closer to the story.

Run, Don't Walk.  This one has Broadway transfer potential.