Gregg Ostrin’s Off-Broadway Kowalski Fixes The Fuse Box Fantastically | Times Square Chronicles

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The framing is pure theatre historic gold, giving us a front-row center vantage point to the day when Tennessee Williams first meets Marlon Brando. It’s a legendary formulation, spilled out in a television interview flashback framing, that draws us into Gregg Ostrin’s new play, Kowalski. And even if it feels a bit forced and fumbled in those first few moments, this new play is a captivatingly playful interaction, rolled out inside epic characterizations, that takes its time to get to the meat of the matter. Still, when the encounter hits its mark, it’s a difficult dynamic to look away from and not want to be a part of.

“Are we on?” asks Tennessee Williams, played with flamboyant effect by Robin Lord Taylor (Fox’s “Gotham“), as he is bathed in a pool of white light. Williams is in the midst of a television interview, and although he would like to be asked about his new play, the interviewer is more interested in a slice of theatre history; the day Williams came into contact with Marlon Brando. And even though, in this particular moment, “the most celebrated playwright in America” indulges the interviewer and the viewers with a sharp turn into his tale. “No, it was not in a theatre,” is boldly states, when he first met Brando. It was in his Provincetown living room and in a way that makes us all lean in more for the next 85 minutes when the lights flicker us back to that infamous evening when two legends lock into one another for domination, when theatre history is made and ignited.

Sebastian Treviño, Robin Lord Taylor and Alison Cimmet. Photo By Russ Rowland

Directed with a strong will for paralleling by Colin Hanlon (George Street Playhouse’s The 25th Annual Putnam County Spelling Bee), Kowalski unwraps itself captivatingly before our eyes, manipulating us happily, even with the overly long set-up that playwright Ostrin (A Very Streaming Christmas) has crafted. It’s now thirty years before that interview. 1947. And the playwright Williams has invited his best friend, Margo over to read his new play. The anxiety is real inside the playwright, as Margo, played quite brilliantly by Alison Cimmet (Broadway’s Amélie), showers him with that needed praise over this raw, edgy new play. A sure-fire masterpiece, she says, adoringly, until she finds out that he is bypassing their usual collaboration as playwright/director, for the more celebrated director, Elia Kazan to lead this play onto Broadway. Yet, somehow, they quickly move past the hurt, somewhat abruptly, mainly because that, and his combative relationship to the Kowalski-esque Pancho Rodriquez, played a bit too broadly by Sebastian Treviño (Theatre Now NY’s The Jury), is really not the point we have all gathered together at The Duke on 42nd Street Theatre.

Their pretense roleplaying is simply an appetizer, albeit slightly overcooked and overdone, with a few drunken symbols thrown in for good fun and a sly wink. The meeting of the two monoliths is the entree that we sit eagerly awaiting, as it is in that serving where the fire truly lives, and the meat of the moment is effectively delivered. Kowalski is more of a metaphoric framing than simply a character in a new play by the legendary playwright. It’s the pivotal role in Williams’ newly written play, ‘A Streetcar Named Desire‘, and it registers strong throughout the play in meaning and in his energy, even though the part of Stanley Kowalski is not exactly up for grabs when Marlon Brando, portrayed with all the right swagger and force by the very handsome Brandon Flynn (Apple TV’s “Manhunt“), strides purposefully into Tennesse Williams’ Provincetown home, three days late and seemingly without a care in the world. Yet we feel the electricity, even when it flickers, gets fixed, and is duly formulated to metaphoric penny’s perfection.

Brandon Flynn, Robin Lord Taylor Photo by Russ Rowland

On a solidly crafted set, designed in detail by David Gallo (August Wilson’s Jitney on Broadway), with solid lighting by Jeff Croiter (Broadway’s Cost of Living), period-perfect-paralleling costuming by Lisa Zinni (Broadway’s Freestyle Love Supreme), and a sharp sound design by Bill Toles (Off-Broadway’s Knock Me A Kiss), the energetic encounter between these two iconic personas is a rollicking reorientation, played out in back-and-forth power grabs that feel as manufactured as the background history that is laid out at our feet by these two. Williams tells Brando from the get-go that he wants the famous film star John Garfield to play the role of Stanley Kowalski on Broadway, but director Kazan has another idea. Kazan gives the young 23-year-old Brando bus fare to Provincetown, sending him into the southern lion’s den with confidence, as he tries to pressure Tennesse Williams to meet with the rising star and let him read for the part. It’s an audition that seems to run off track almost from the moment the young handsome actor walks into the space. Yet we all know the outcome, so the journey through a series of clashes and parallel processing is the meal we are eagerly ready to digest, and as served up, it’s an audacious audition that truly makes us smile.

Whether the tango is true “fact or fiction“, both actors find all the delicious combative flavors that make this clash worth its weight in high dramatic gold, pushing Williams’ southern gentleness up hard against Brando’s more roguish swagger to great effect. The mumble and the politeness wrestle with one another in all its blurred vision of personality observations, and it’s a pleasure to behold, even when the match gets interrupted by Brando’s companion, Jo, played true by Ellie Ricker (A24’s “Y2K“), who’s starstruck fanning of Williams only escalates the untamed fire. But is the play paralleling too much? Or is it a processing that is wisely formed and staged, destined to win out in the end, giving a swagger and a characterization that would make Stella Adler proud? That is the daddy-issue fuel of this ego-driven fire, and it’s drawled out to the greatest effect. Fixing all that is wrong, and rewiring it as he wishes to be seen, heard, and read. I’ll let you be the judge of that, but as framed, the new play hits all the right dance moves, and ends at precisely the right moment after the perfectly delivered line.

Robin Lord Taylor, Brandon Flynn, Alison Cimmet_ and Ellie Ricker look on. Photo by Russ Rowland

Kowalski is now playing at The Duke on 42nd Street running through February 23. Tickets and information: KowalskiOnStage.com

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Sanaz Toossi’s English Scores High on Broadway

Ken Fallin’s Broadway and Off Broadway: Kowalski’s Robin Lord Taylor and Brandon Flynn

My love for theater started when I first got involved in high school plays and children's theatre in London, Ontario, which led me—much to my mother’s chagrin—to study set design, directing, and arts administration at York University in Toronto. But rather than pursuing theater as a career (I did produce and design a wee bit), I became a self-proclaimed theater junkie and life-long supporter. I am not a writer by trade, but I hope to share my views and feelings about this amazing experience we are so lucky to be able to see here in NYC, and in my many trips to London, Enlgand, Chicago, Toronto, Washington, and beyond.Living in London, England from 1985 to 1986, NYC since 1994, and on my numerous theatrical obsessive trips to England, I've seen as much theater as I can possibly afford. I love seeing plays. I love seeing musicals. If I had to choose between a song or a dance, I'd always pick the song. Dance—especially ballet—is pretty and all, but it doesn’t excite me as, say, Sondheim lyrics. But that being said, the dancing in West Side Story is incredible!As it seems you all love a good list, here's two.FAVORITE MUSICALS (in no particular order):Sweeney Todd with Patti Lupone and Michael Cerveris in 2005. By far, my most favorite theatrical experience to date.Sunday in the Park with George with Jenna Russell (who made me sob hysterically each and every one of the three times I saw that production in England and here in NYC) in 2008Spring Awakening with Jonathan Groff and Lea Michele in 2007Hedwig and the Angry Inch (both off-Boadway in 1998 and on Broadway in 2014, with Neal Patrick Harris, but also with Michael C. Hall and John Cameron Mitchell, my first Hedwig and my last...so far),Next To Normal with Alice Ripley (who I wish I had seen in Side Show) in 2009FAVORITE PLAYS (that’s more difficult—there have been so many and they are all so different):Angels in American, both on Broadway and offLettice and Lovage with Dame Maggie Smith and Margaret Tyzack in 1987Who's Afraid of Virginai Woolf with Tracy Letts and Amy Morton in 2012Almost everything by Alan Ayckbourn, but especially Woman in Mind with Julia McKenzie in 1986And to round out the five, maybe Proof with Mary Louise Parker in 2000. But ask me on a different day, and I might give you a different list.These are only ten theatre moments that I will remember for years to come, until I don’t have a memory anymore. There are many more that I didn't or couldn't remember, and I hope a tremendous number more to come. Thanks for reading.And remember: read, like, share, retweet, enjoy.For more go to frontmezzjunkies.com

These Two Orphan Girls, “Annie” and “Anne of Green Gables”, One Musically in NYC and the other from Prince Edward Island, Find Masterful Can’t-Miss-This Magic in the Land of Stratford

Motorcycles, Mayhem, and Macbeth Rides Strong, Reving its Engines on the Dark Streets of Stratford

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Producers Robert Greenblatt, Neil Meron and Steven Spielberg announce the critically acclaimed, Tony-nominated new Broadway musical comedy Smash will play its final Broadway performance on Sunday, June 22, 2025 after 32 previews and 84 regular performances at the Imperial Theatre (249 West 45th Street). Tickets for all remaining performances are available here.

The producers of the new hit Broadway musical Buena Vista Social Club and WORLD CIRCUIT RECORDS have announced that the show’s Original Broadway Cast Recording was released digitally, produced by Dean Sharenow and David Yazbek. The album will be co-produced by Marco Paguia and Orin Wolf, and Executive Produced by Allan Williams. The CD will be available on July 25th, with vinyl release later in 2025.

Buena Vista Social Club is making history on Broadway as the first musical featuring its entire score sung completely in Spanish, with the show’s story and scenes performed in English. For CD and LP pre-orders and album stream/download, please visit: https://WorldCircuit.lnk.to/BVSCBroadwayOCRPR .

The original cast recording will feature the original Broadway cast as well as the Buena Vista Social Club Broadway band, which has been awarded a 2025 Special Tony Award: Marco Paguia(Piano, Music Director), David Oquendo (Guitar), Renesito Avich(Tres), Gustavo Schartz (Bass), Hery Paz (Woodwinds), Eddie Venegas (Trombone), Jesus Ricardo (Trumpet), Javier Díaz(Percussion), Mauricio Herrera (Percussion), Román Diaz(Percussion), and Leonardo Reyna (Piano).

Ghostlight Records announced the release of Real Women Have Curves: The Musical (Original Broadway Cast Recording) the CD edition of the album is scheduled for Friday, July 25. The show is already on streaming platforms. The album is produced by Julio Reyes Copello, the 15-time Grammy and Latin Grammy Award winner. Real Women Have Curves: The Musical features music and lyrics by the Tony Award-nominated duo of Joy Huerta and Benjamin Velez. The show is currently being performed at Broadway’s James Earl Jones Theatre (138 West 48th Street). To stream or download the album, please visit Realwomenhavecurves.lnk.to/OrignalBroadwayCastAlbum

Yellow Sound Label has announced the release of Heathers The Musical: World Premiere Cast Recording (Deluxe Edition) remastered in streaming and digital formats. To celebrate the 10thanniversary of the beloved musical’s original album, the Deluxe Edition contains the entire original 2014 Heathers world premiere cast album – featuring book, music, and lyrics by Kevin Murphy and Laurence O’Keefe – completely remastered for 2025. Earlier this year, the world premiere cast album – which boasts over 2.6 billion streams – was certified Gold by the RIAA. The Deluxe Edition includes seven Heathers bonus tracks, performed by a murderers’ row of Broadway stars: all three new songs added for the UK production, familiar Heathers songs reimagined in surprising ways, and a deleted duet for the characters of Veronica and Heather McNamara, recorded here for the first time. The album was produced by Michael Croiter, Kevin Murphy, and Laurence O’Keefe. To pre-save or pre-add, please visit linktr.ee/Heathers_YellowSoundLabel

The bonus tracks include special new versions of songs from the original album, including “Our Love is God (Fado Ballad),” performed by Cordeone and Martina DaSilva; “Seventeen (Symphonic Version),” performed by Kristolyn Lloyd and George Salazar; and “Kindergarten Boyfriend (Bluegrass Lullaby)” performed by Will Chase. The new album also features new recordings of songs added to the hit London production, including “Never Shut Up Again,” performed by Adrianna Hicks, with Aaron Michael Ray and Matt DaSilva; “You’re Welcome,” performed by Alyse Alan Louis, Corey Cott, and Jason Gotay; and “I Say No,” performed by Leslie Rodriguez Kritzer. Finally, it features the world premiere recording of the new song “One by One,” performed by Ingrid Michaelson andGizel Jiménez.

After a long series of West End runs and national tours in the UK, a new production of Heathers the Musical is making its eagerly awaited return to New York City, starting performances on June 22 and playing a limited engagement through September 28 at New World Stages, Stage 1 (340 West 50th Street). Heathers the Musical will be directed by Andy Fickman, who directed the original Los Angeles and New York productions, as well as the subsequent UK shows. The new production is produced by Bill Kenwright LTD., Paul Taylor-Mills and Jerry Goehring.

Welcome to Westerberg High, where popularity is a matter of life and death, and Veronica Sawyer is just another nobody dreaming of a better day. But when she’s unexpectedly taken under the wings of The Heathers – three beautiful and impossibly cruel classmates all named Heather – her dreams of popularity finally start to come true. That is until J.D. turns up, the mysterious teen rebel who teaches her that it might kill to be a nobody, but it is murder being a somebody…Based on the 1989 cult film by Daniel Waters that starred Winona Ryder and Christian Slater, Heathers the Musical originally opened in Los Angeles for a sold-out run in 2013 and transferred Off-Broadway to New World Stages in 2014. The authors revised the show for the 2018 London premiere, incorporating several new songs and script changes that will be heard in New York for the first time. Heathers the Musical has had three smash hit West End productions and three tours, which have broken box office records throughout the UK and Ireland.

Heathers The Musical: World Premiere Cast Recording features performances by Barrett Wilbert Weed as Veronica and Ryan McCartan as J.D.; taking on the roles of The Heathers are Jessica Keenan Wynn as Heather Chandler, Elle McLemore as Heather McNamara, and Kristolyn Lloyd as Heather Duke. Katie Ladner stars as Martha Dunnstock, Jon Eidson as Ram Sweeney, Evan Todd as Kurt Kelly, Tony Award winner Anthony Crivello as Ram’s Dad/Big Bud Dean, Daniel Cooney as Kurt’s Dad/Veronica’s Dad/Principal, and Michelle Duffy as Ms. Fleming/Veronica’s Mom. Completing the cast are Dan Domenech, Cait Fairbanks, Rachel Flynn, Molly Hager, Charissa Hogeland, AJ Meijer, Matthew Schatz, and Dustin Sullivan.

Audible, Inc., the leading creator and provider of premium audio storytelling, Yellow Sound Label, Lia Vollack Productions, and Sonia Friedman Productions present the new single, “Killed a Man in Maine,” from the seven-time Tony Award®-nominated and acclaimed new musical Dead Outlaw, today. The show features music and lyrics by David Yazbek and Erik Della Penna, book by Itamar Moses, conceived by David Yazbek, and is directed by David Cromer. In addition to the new single, Dead Outlaw Original Broadway Cast Recording: Part 1, featuring seven songs from the show, is also available wherever you get your music. The Audible Original release of Dead Outlaw—featuring the entire musical recorded in Dolby Atmos with immersive sound design—will be available exclusively from Audible this fall, with a pre-order available HERE. Stream or download Dead Outlaw Original Broadway Cast Recording: Part 1 HERE. Stream or download “Killed a Man in Maine” HERE

Center Stage Records announced today the release of “Magic” from the forthcoming live West End cast recording of John Casssavetes’ Opening Night– with music and lyrics by three-time Grammy Award-nominated singer/songwriter Rufus Wainwright – is now available on all digital outlets. “Magic” is performed by two-time Olivier Award winner Sheridan Smith. Additionally, the album is available for pre-order and pre-save on all digital outlets, with a release date of Friday, September 12. The single can be streamed HERE, and pre-ordered/pre-saved HERE.

John Cassavetes’ Opening Night is the first stage musical with music, lyrics, and orchestrations by Rufus Wainwright. It premiered in London at the Gielgud Theater in the spring of 2024. The book and direction were by Ivo van Hove and is based on the 1977 movie Opening Night by American avant-garde director John Cassavetes. It tells the story of an actress, Myrtle Gordon, who is premiering a play written for her that is about a woman coming to terms with aging. Myrtle does not come to terms with her own aging and rebels against the play and throws the entire production into jeopardy. A young female fan asking her for an autograph at the stage door gets killed by a car as she runs off onto the street. Myrtle is being haunted by the ghost of the young girl. On opening night, she arrives completely drunk but ultimately does what she does best: act and improvise. Part “All About Eve” Opening Night is the story of an actress who risks madness for her truth.

The live album features Wainwright’s songs written for the original London West End production performed by the cast including Sheridan Smith, Nicola Hughes, and Benjamin Walker, recorded over the last 4 performances of the play at London’s Gielgud Theater.

The release of the album is being celebrated by a one-night-only concert at Town Hall in New York City on September 15, 2025, and will feature performances by a group of friends Wainwright has in the music and stage world including Sara Bareilles, Darren Criss, Patti LuPone, and Elizabeth Teeter. Wainwright will join this cast of talented performers and sing some of the songs himself, and act as the MC, leading through the evening and explaining the story of the musical. Jason Hart, who was in Rufus’ band for many years, is the music director and is leading the 13-piece band that will perform Wainwright’s original West End arrangements. Tickets can be purchased HERE.

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We went into each, hesitatingly, thinking these two shows would be strictly just ‘cute’. And probably well done, but not much more than that. I tend to shy away from these family-focused types of summer festival shows, and these two fit that bill. But boy, oh boy, oh boy, (something I could hear either of these two red heads saying to me) would I have missed out on the finest productions to take over the two main stages at the Stratford Festival. It would have been a damn shame, as both; the hopeful sweet musical Annie and the shockingly good Anne of Green Gables, were utterly spectacular, flooring me with their solid craftmenship, excellent production values, and exceedingly entertaining and creative delivery, as well as some of the strongest half-pint (and full-pint) performances of the summer season.

Annie, magnificently portrayed by Harper Rae Asch (Wavestage’s White Christmas), doesn’t disappoint from the moment we lay eyes on that red mop of hair and breathe in her optimistic “Maybe” outlook on the vast Festival Stage. Singing astoundingly about their “Hard Knock Life,” these orphans; Cydnee Abbott (Pepper); Evonny Harker (Clara); Harmony Holder (Molly); Isla Horner (July); Sofia Grace Otta (Duffy); Olivia Padfield (Audrey); Jessica Reddy (Kate); and Addison Wagman (Tesse), excel, singing and dancing brilliantly about the miserable life they find themselves trapped within. Yet, the hope remains, as they hang on to Annie’s “Maybe” and their communal optimism, thanks to the wonderfully drawn depiction of our heroine, Annie.

NEDirected and choreographed to perfection by Donna Feore (Stratford’s Chicago), with a strong supportive assist from music director Laura Burton (ACT/SF’s Rich and Famous), these young talented actors shine bright in their dirty rags, supplied most delightfully by set and costume designer Michael Gianfrancesco (Stratford’s Macbeth), singing strong against an outlined cityscape delivered strongly by the design team that includes: sound designer Haley Parcher (Kennedy Center’s NINE), projection designer Sean Nieuwenhuis (Broadway’s Dr. Zhivago), and lighting designer Kimberly Purtell (Stratford’s Frankenstein Revived). The visuals sell this story expertly from the moment we see that orphanage front and across all those “NYC” streets, from “Hooverville” to “A New Deal For Christmas“.

Swinging herself out, headached hungover, and all, is their orphanage keeper, the deplorable Miss Hannigan, deliciously embodied by Laura Condlln (Stratford’s Twelfth Night). “It’s medicine,” she flatly and hilariously states as she guzzles down some hair of the dog, spoken unconvincingly to a room full of her orphaned “brats”, with the “Little Girls” responding, perfect in pitch and edge, “you must be very sick, Miss Hannigan!” And a smile comes over our face (if it wasn’t there already), steadfastly remaining until the final scene. We couldn’t be more happily content in the unmistakable, unmissable production of Annie, especially when the gorgeous Grace Farrell, played glowingly by Jennifer Rider-Shaw (Stratford’s Spamalot), twists the frustrated Miss Hannigan into knots, like an expert balloon artist. She fantastically forces her hand in ‘allowing’ her to rescue the wide-eyed Annie and rush her away from the orphanage into the surprised hands of Oliver Warbucks, lovingly played by an excellent non-bald Dan Chameroy (Stratford’s The Diviners).

“I thought orphans are boys?” he states to the steady Miss Farrell (one of the many parallels to the soon-to-be discussed Anne of Green Gables playing strong at the Festival‘s Avon Theatre). That is before his heart quickly melts into the outstretched hand of Asch’s Annie. As do we, as we are almost tempted to join in with her and her wondrous crew of actors when they sing and dance their way through “I Think I’m Gonna Like it Here,” feeling the same, and wanting this feeling to never go away.

It’s a magnificent showing, this Annie, playing strong and true with that solid book by Thomas Meehan (Elf the Musical), delightful music by Charles Strouse (Bye Bye Birdie), and wise lyrics by Martin Charnin (Mata Hari), even when the dastardly Rooster Hannigan, devilishly well-played by Mark Uhre (Stratford’s Something Rotten!), and his ridiculously grand Lily St. Regis, deviously portrayed by Amanda Lundgren (Stratford’s La Cage Aux Folles), enter into the picture with their perfectly performed “Easy Street” that matches in extreme excellence Condlln’s earlier delivery of “Little Girls“. They, as does the whole production, use the thrust stage to perfection, smuggly delighting in their treacherous plot to get the money from that Billionaire and make Annie, well, disappear. Good golly!

Everyone shines in this ridiculously great production of Annie, even that cute Sandy (Clue) who sorta, almost, steals the show right out from under Asch’s powerfully good rendition of “Tomorrow“, playing it cool and adorable while the crowd endlessly cheers on this near-perfect creation. The cast soars repeatedly, finding gloriousness in their “Fully Dressed” radio broadcast, as well as receiving the presidential seal of approval for their rousing rendition of “Cabinet Tomorrow” by some very skeptical, yet enthusiastic politicians. It’s a never-ending joyfest of vocal deliciousness and energetic engagement. “I Don’t Need Anything..” but another viewing of this superb, unmissable production of Annie, a show that I was sorta dragging my feet in, but dancing my smiling feet out. “Did I hear happiness in here?” Yes, you did, and a whole heap of it.

Up a bit further north (and across the town of Stratford, Ontario), in a small 1890s town on a different island, Prince Edward Island, another man looks at a similar wide-eyed, hopeful orphan and states without thinking, “I thought you were a boy?” He isn’t saying that to hurt the red-haired dynamo who will easily steal his heart before the buggy even gets them home to Green Gables. He, brother Matthew Cuthbert, delivered forth gorgeously by Tim Campbell (Soulpepper’s Who’s Afraid of Virginia Woolf?), was just speaking the truth without thinking. He was told to go into town and pick up the boy orphan who would be waiting for him, as he is no rich Daddy Warbucks and desperately needs help on the farm that he shares, quite equally, with his sister Marilla Cuthbert. Embodied most beautifully by Sarah Dodd (Coal Mine’s Marjorie Prime), this would-be caregiver, who has lived her life as she sees fit, has her doubts about this freckled, outspoken young girl. Their farming apron strings are pulled tight, and they really do need some help to survive. Little did they know that Anne, “with an E“, portrayed magically and magnificently by Caroline Toal (Drayton’s An Inspector Calls), is just what they needed, back then and now.

But I’m getting ahead of myself, as this absolutely delicious Stratford Festivalcommission and world premiere production of Anne of Green Gables rides forward confidently and inventively. In this new adaptation, as written and directed fantastically by Kat Sandler (Soulpepper’s WILDWOMAN), the tale unwinds itself most gloriously and with a strong creative sense of purpose, taking us through the paces of emerging love, gentle care, and the art of forgiveness. The play, naturally based on the celebrated Canadian novel by author Lucy Maud Montgomery (Chronicles of Avonlea), tells the tale clearly and deeply. Yet, on the Avon Stage, Anne’s story will be told in their own way and in their own time. “We can imagine it bigger,” one says, as the expanding telling starts out small, with some business on the stage between a stage hand and a fussy woman in a long period dress.

It turns out that she is the organizer of the “Anne of Green Gables Fan Book Club“, and it seems we have all gathered together to light up the house with a special reading of this magnificent, well-known tale. Delightfully and dynamically well played by Maev Beaty (Stratford’s Much Ado About Nothing), this woman and the opening of this show sends creative shivers of joy throughout the theatre, especially when the group that gathers around her suggests a different approach to the telling, and with a deep breath of imagination and goodwill, they begin, expanding the concept and delivering with a modern flair into our outstretched hands. Not exactly how the book would have us start, we are told by Beaty, but it’s a beginning that works its spell on us all instantly, and we sit back in delight (and a sense of relief), ready to be swept away like that good man Matthew does almost from the moment he first engages with our Anne.

The cast of fan club members are all phenomenal, taking on roles in this unpacking when needed with glee: Rachel Lynde, portrayed gloriously by Beaty; “Lady” Diana Barry, played perfectly by Julie Lumsden (Shaw’s On the Razzle); Gilbert Blythe, embodied handsomely by Jordin Hall (Stratford’s Grand Magic); Prissy Andrews, played delightfully by Jennifer Villaverde (Stratford’s Les Belles-Soeurs); Josie Pye, deviously well played by Helen Belay (Soulpepper’s King Lear/Queen Goneril); and Jane Andrews, shrewdly portrayed by 郝邦宇 Steven Hao (Tarragon’s Cockroach) who arrives, uninvited but determined to stay and play the roles required, even when questioned. “But I can be the horse?” he states, standing up for his presentation, rightly and with loving determination, and we can’t deny that logic.

The show effortlessly weaves in our time with the fan members and the famous story they are telling, making the whole journey to Green Gables utterly intoxicating and emotionally engaging. I did not read the book, nor did I see any of the versions that made it to the small screen. I was really a blank slate walking into the theatre. I had literally “not read ahead,” finding myself not all that excited about this family-friendly show. Yet, once again, Stratford reminded me how wrong I could be about young persons’ theatre, and this tale of an orphan girl who went to live with two older siblings on a Prince Edward Island farm. Assisted by the fine work of writer/director Sandler, set and costume designer Joanna Yu 余頌恩 (Stratford’s Les Belles-Soeurs), lighting designer Davida Tkach (Soulpepper’s August: Osage County), composer James Smith (Coal Mine’s The Effect), and sound designer Debashis Sinha (Canadian Stage’s Winter Solstice), this telling of Anne of Green Gables is exactly the kind of connective engagement that makes theatre so dynamic and thrilling.

It lives and breathes inside its creativity and gumption, just like our lead heroine. The story is beautiful, fun, and emotionally true, elevated by the artistry of this telling. We stay completely tuned in, as did all the kids around us, surprising our adult selves with its heartfelt tenderness and stellar theatrical storytelling. It’s probably one of my most favorite things I’ve seen on stage so far this year, and once again, I must say, one adult to another, this kid’s show is unmistakably fantastic and completely unmissable. So get yourself to the Stratford Festival and give yourself over to two red-haired orphans who will snatch your heart away, carrying us most lovingly to the island of your choice, Manhattan or Prince Edward. Both are equally magnificent. And both must be seen.

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Live From The Hotel Edison Times Square Chronicles Presents”, is filmed from the Hotel Edison.

Owner Suzanna Bowling talks with Veteran actor and musician Thomas G. Waites who step into the spotlight with Lucky Man – A Warrior’s Journey, at the Gene Frankel Theatre. This deeply personal one-man rock monologue is backed by his band Heartbreak Waites, that chronicles Waites rise, fall, and redemption. Directed by Joe Danisi, Lucky Man began a strictly limited engagement opening on Wednesday, June 11 at 8 PM and runs through June 22.

When Waites was 21 years old, he was offered two movies simultaneously: Snowbound, directed by Robert Young, and Pity the Poor Soldier (the title has subsequently changed), directed by Bill Jersey. Despite the fact that he was offered twice the money for Snowbound, Waites chose Pity the Poor Soldier because it was in celebration of the bicentennial of the American Revolutionary War. He was in On the Yard, co-starring John Heard. Subsequently, he was offered a three-picture option deal with Paramount Pictures. Waites auditioned for and got a part in Walter Hill’s The Warriors, playing the character Fox. After disputes with the director, he was fired from this film. Three weeks after being fired from The Warriors, Tom auditioned with Al Pacino and was cast as Jeff McCullough in the Norman Jewison film …And Justice for All (1979). This began a long relationship with Pacino. The two worked together again in Shakespeare’s Richard III andDavid Mamet’s American Buffalo

At the Perry Street Theatre Forty-Deuce Off-Broadway and Kurt Russell and John Carpenter saw his performance and cast him as Windows in the 1982 film The Thing. Waites was cast in the Broadway premiere of Trafford Tanzi, a musical in which he sang with Deborah Harry and Pastorale, the Obie Award-winning play starring Judith Ivey and Christine Estabrook.

Tom met his namesake and singer, Tom Waits, who generously taught Tom the song “Jersey Girl” on the guitar. Tom Waits even played the bass drum on a demo tape of Thomas G. Waites’ music.

A highlights of Tom’s career: working with Geraldine Page in Paradise Lost. He was Ralph in Awake and Sing! and Sing on Broadway with actress Frances McDormand and Harry Hamlin. Tom was then cast in the role of Broud in The Clan of the Cave Bear with Daryl Hannah.

Tom’s next played Otis Price, the baby stealer in ABC’s All My Children while performing Israel Horovitz’s North Shore Fish at the WPA Theater. Tom also made guest appearances in popular television shows as Kojak, Miami Vice, The Equalizer, NYPD Blue, Law & Order, Law & Order: Criminal Intent, Buffy The Vampire Slayer, the soap opera One Life to Live,Oz and more.

Tom wrote a play called Dark Laughter, which played in several theaters.

Waites has coached such actors as Alfred Molina, Vinnie Pastore and more. He directed A White Man’s Guide to Rikers Island, which had a successful run in New York City in 2022. His latest project, a feature film titled Target, written and directed by Waites and premiered in April 2023.

I am so grateful to my guest for Thomas G. Waites being with us.

We are so proud because the show and our guests are now featured on the TV screens in the lobby and the hotel rooms.

Thank-you Magda Katz for videoing and creating the content to go live, Rommel Gopez and The Hotel Edison for their kindness and hospitality.

We are so proud and thrilled that Variety Entertainment News just named us one of Summer’s Best Picks in the category of Best Television, Radio, Podcasts. The company we are in, has made us so humbled, grateful and motivated to continue.

“The Daily Geek Report” has also named host Suzanna Bowling on the list of Most Engaging Hosts. Thank-you so much for recognizing us and thank-you Eileen Shapiro who has helped us get noticed, we are so grateful.

You can catch us on the following platforms:

Pandora:

https://www.pandora.com/podcast/live-from-the-edison-hotel-times-square-chronicles-presents/PC:1001084740

Stitcher:

https://www.stitcher.com/show/1084740

Spotify:

Amazon:

https://music.amazon.com/podcasts/e3ac5922-ada8-4868-b531-12d06e0576d3

Apple Podcast

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The historic 79th Annual Theatre World Awards Ceremony was held last night, June 2, 2025 at 7 p.m. at Hard Rock Café Times Square (1501 Broadway). This year due to Anna Wintour’s deciding this was the night for honoring Tony Award nominees, the award show for and by the community was sparse on attendee’s. Hosted annually by well-known theater journalist, Peter Filichia, along with President Dale Badway and musical director Michael Lavine made this a night that still celebrated in style and class.

The Theatre World Awards honor an Outstanding Debut Performance in a Broadway or Off-Broadway Production.

Showing up were: Sarah Snook, The Picture of Dorian Gray who was presented to by Christine Lahti.

Sarah Snook

was presented to by Christine Lahti.

Christine Lahti

Christine Lahti.

Marjan Neshat, English

Marjan Neshat

Was awarded by A.J. Shively

A.J. Shively

Jak Malone, Operation Mincemeat

Jak Malone

was awarded by Lee Roy Reams.

Lee Roy Reams.

Alana Arenas, Purpose was presented by her director Phylicia Rashad.

Alana Arenas

Alana Arenas

Jasmine Amy Rogers, Boop! was presented the award by her director/ choreographer Jerry Mitchell.

Dez Duron

Dez Duron

Dez Duron accepted for Helen J. Shen, Maybe Happy Ending

Craig Bierko performed “Trouble” from The Music Man.

Kit Connor, Romeo & Juliet, Patsy Ferran and Paul Mescal, A Streetcar Named Desire were in London working.

Sandy Duncan

Sandy Duncan

Nicole Scherzinger, Sunset Boulevard, did the sweetest thing….she showed up at the very end and gave a moving speech as she was presented the award Sandy Duncan. The moment was moving and touching.

Tom Francis and Louis McCartney, Stranger Things, were no shows.

Shailene Woodley (Cult of Love) received the 16th Annual Dorothy Loudon Award for Excellence in the Theater, but she is filming in LA so she was a no show.

Leslie Uggams

Tony Award winner Leslie Uggams received the 12th Annual John Willis Award for Lifetime Achievement in the Theatre.

Not only did she show up and was honored by Brian Stokes Mitchell but her daughter Danielle performed for us.

Brian Stokes Mitchell

Danille and Leslie Uggams

and George Clooney (Good Night, and Good Luck) was to receive the 2025 TWA Special Award for Outstanding Broadway Debut as Performer & Playwright, but guess where he was!

Jamie deRoy

Philip Boykin

Conrad Ricamora

Conrad Ricamora

Alexander Garfin

Philip Boykin

Allison Tucker Mitchell and Brian Stokes Mitchell

From The Real Life Housewives of Salt Lake City

Alisa from Wonderama

Alisa from Wonderama

South American Model

South American Model

Alexander Garfin

EMLEX Entertainment Alexander Robertson

Marilyn Sokol

J Cameron Barnett, Lana Gordon

Karen Johnston Producer for the Theatre World Awards

Alexander Garfin

Samuel Dolman, Brinley Degwert

Richard Hillman and Philip Carrubba

Ending off the awards was previous winner Casey Likes singing “Tiny Dancer”, which you can see here.

Bravo Theatre World Awards.

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The 69th Annual Drama Desk Awards were held last night at NYU Skirball.Check out part 1 here.

Here are the interviews from the press room.

Outstanding Lead Performance in a Play: Sarah Snook, The Picture of Dorian Gray

Outstanding Lead Performance in a Musical: Jasmine Amy Rogers for Boop! The Musical

Outstanding Play: Purpose, by Branden Jacobs-Jenkins

Outstanding Revival of a Play: Eureka Day with Jonathan Spector, Lynne Meadow, Niki Hunter, Chris Jennings

Outstanding Choreography: Jerry Mitchell, BOOP! The Musical

Outstanding Orchestrations Andrew Resnick and Michael Thurber, Just in Time

Outstanding Costume Design of a Musical: Gregg Barnes, BOOP! The Musical

Outstanding Revue: Forbidden Broadway: Merrily We Stole a Song with Gerard Alessandrini

Unique Theatrical Experience: The Picture of Dorian Gray Kip Williams

Outstanding Puppetry: Amanda Villalobos, Becoming Eve

Outstanding Wig and Hair: Charles G. LaPointe, Death Becomes Her

Outstanding Sound Design of a Musical: Peter Hylenski, Just in Time

Outstanding Wig and Hair: Charles G. LaPointe, Death Becomes Her

Camille A. Brown

Catherine Zuber

Isaiah Josiah, Pamela Singleton and David Staller

Kip Williams

Patrick Keleher

David Henry Hwang

Winners Andrew Resnick and Michael Thurber

Michael Starobin

Jacob Kerr

The Cast of The Ask

Allyson Tucker and Brian Stokes Mitchell

Zoe Sarnak

Betsy Aidem

Alex Newell

A.J. Shively

A.J. Shively, Alex Newell

Kerry Butler, Marissa Jaret Winokur and Laura Bell Bundy

Kerry Butler, Marissa Jaret Winokur and Laura Bell Bundy

Marissa Jaret Winokur

Laura Bell Bundy

Joshua Henry

Michael Arden

From Dead Outlaw-Jeb Brown, David Yazbek Julia Knitel, Andrew Durand, Thom Sesma

Norm Lewis

Jenny Lee Stern

Gerard Alassandrini and Jenny Lee Stern

Nikiya Mathis

Frank Wood

Maria-Christina Oliveras

Jennifer Ashley Tepper, John Simpkins and Julie Larson

Ricky Schroeder and Jerry Mitchell

Frank Wood

Annie Parisse and Paul Sparks

Jennifer Simard

Stacey Derosier

Opening Number dancers that includes.Mike Baerga, Frederic Odgaard, Michael Olaribigbe and Ronnie Bowman Jr.

Nicholas Barasch

Lesli Margherita

Mylinda Hull, Lesli Margherita and Lili Thomas

Lili Thomas

Mylinda Hull

Tituss Burgess

Debra Messing

Tituss Burgess, Debra Messing

Tituss Burgess, Debra Messing

From Operation Mincemeat cast that incluDes- Jak Malone, David Cumming, Zoe Roberts, Natasha Hodgson and Claire-Marie Hall

winners Hue Park and Will Aronson

Helen J. Shen

Will Aronson, Helen J. Shen, Darren Criss and Hue Park

Darren Criss

Andrew Scott

Lily Rabe

Tom Francis

Lorin Latarro

George C. Wolfe

Will Swenson

Grey Henson

Paul Tazewell

Sarah Hyland

Jack Noseworthy and Sergio Trujillo

Drama Desk Board Members David Barbour and Charles Wright

Victoria Clark

Ashley Marie Spencer and Jeremy Jordan

Jason Gotay

Jinkx Monsoon

Jinkx Monsoon, Jason Gotay

Gracie Lawrence

Deirdre O’Connell

Louis McCartney

Christopher Sieber and Brooks Ashmanskas

Ryan J. Haddad

Jay O. Sanders and Maryann Plunkett

Chelsea Pace

Jonathan Groff

LaChanze and Pat Swinney Kaufman

LaChanze

Sutton Foster

Winner Michael Urie

Winner Michael Urie, Sutton Foster

Winner Kara Young

Kimberly Belflower and winner Amalia Yoo

winner Amalia Yoo

Winner Jax Malone

Jude Tibeau

Bob Martin

Adam Pascal

Nicole Scherzinger

Winner Jasmine Amy Rogers

Tomorrow The Press Room

These Two Orphan Girls, “Annie” and “Anne of Green Gables”, One Musically in NYC and the other from Prince Edward Island, Find Masterful Can’t-Miss-This Magic in the Land of Stratford

Lucy Liu Premieres ‘Rosemead’

Prince Mario-Max Schaumburg-Lippe: Royal Sabarsky Luncheon with Queen of Broadway Top-Publisher Suzanna Bowling!

The 78th Annual Tony Awards: A Night of Unforgettable Performances and Milestone Moments

Metaverse or Meta-flop? When Virtual Landlords Lost Their Digital Shirts

‘Tow’ Takes on Tribeca Festival to Grand Reception

Motorcycles, Mayhem, and Macbeth Rides Strong, Reving its Engines on the Dark Streets of Stratford

Deborah Silver Rocks With The Basic Band with Basie Rocks!