Handicapping Broadway’s Fall Season
Much has been made of the fact that Broadway’s fall theatre lineup includes many more plays (12) than musicals (4). But if you think that out-of-towners will be clamoring to see a drama (even one as involving as “August: Osage County,” with Deanna Dunagan, pictured here) more than they’ll be chasing tickets for “Young Frankenstein” or “The Little Mermaid,” then you must be, well, from out-of-town. Still, all the non-musical activity should be cheered, and after the jump I offer a cheat sheet assessing each entry’s critical and commercial chances.
“Mauritius” — This drama about a family and a stamp collection marks the Broadway debut of experienced playwright Theresa Rebeck. The cast is solid (F. Murray Abraham, Alison Pill), and the subscription-house production (Manhattan Theatre Club) ensures an audience, but this one will need A-plus reviews to become a must-see. Performances begin September 13.
“The Ritz” — A revival from the Roundabout of a Terrence McNally play set in a gay bathhouse (and being done at Studio 54: how 70s!). Kevin Chamberlin and Rosie Perez lead the cast. Could be fun, but the marketing campaign doesn’t seem to be targeted to anyone outside Chelsea boys. Perfs begin September 14.
“Pygmalion” — Also from the Roundabout, George Bernard Shaw‘s classic about a professor and a street urchin has Jefferson Mays as Higgins, but will Claire Danes be up to the part of Eliza? Perfs start September 21.
“A Bronx Tale” — Chazz Palminteri‘s solo show based on his rough-and-tumble childhood, adapted from the movie of the same name. Difficult to see who the Broadway audience is for this evening, but I could be wrong. Perfs start October 4.
“Cyrano de Bergerac” — In the title role, Kevin Kline has the requisite panache, and one can only root for Jennifer Garner, returning to Broadway after a long absence, as Roxane. Perfs start October 12.
“Rock ‘n Roll — Tom Stoppard‘s latest concerns politics, Cambridge, and Prague. The London stars, including Rufus Sewell, are traveling with the play to Broadway. Reviews should be strong, and perfs start October 19.
“Young Frankenstein” — Mel Brooks‘s musical follow-up to “The Producers” has monster hit written all over it. Too bad it’s in the cavernous Hilton theatre instead of the cozier St. James. (How do you spell “greed”?) Perfs begin October 11.
“The Farnsworth Invention” — Between this work and his script for the movie “Charlie Wilson’s War,” Aaron Sorkin has a big fall in front of him. The play concerns the race for the invention of television. Despite the presence of audience fave Hank Azaria, “Farnsworth” will need solid critical support to be a hit. Perfs begin October 15.
“The Seafarer” — Conor McPherson‘s new Dublin-set play transfers from London’s National Theatre. It should get the reviews, but will it have an audience? Performances begin October 30.
“August: Osage County” — I saw and loved Tracy Letts‘s play about an Oklahoma family in Chicago (here’s my Financial Times review). I’m going to go out on a limb and say that this drama will win next year’s Tony for Best Play and maybe even the Pulitzer. Performances begin October 30.
“Is He Dead?” — David Ives’s adaptation of Mark Twain‘s 1898 comedy about the art world. This looks like a novelty item at best, but I live to be proven wrong: I don’t want to read any reviews that begin, “Reports of this play’s life were greatly exaggerated.” Perfs start November 8.
“Cymbeline” — Lincoln Center Theatre’s production of Shakespeare‘s romance. The cast is promising (Michael Cerveris, Martha Plimpton, and the grander-than-grand Phylicia Rashad) and perfs begin November 1.
“Lone Star Love” — I may be risking my street cred to say this, but I’m really looking forward to this musical inspired by “The Merry Wives of Windsor” and set in the Wild West. Randy Quaid heads the roster, along with Dee Hoty. Whoo-ha! Perfs begin November 1.
“Dr. Seuss’ How the Grinch Stole Christmas: The Musical” — When this show played Broadway last season, the Grinch certainly did steal Christmas, all the way to the bank. Performances begin November 1.
“The Homecoming” — A revival of Pinter‘s play about an estranged brother’s return to his family. Ian McShane and Raul Esparza topline the tasty cast. Performances begin November 23.
“The Little Mermaid” — A stage adaptation of the animated musical, directed by Francesca Zambello. Out-of-town reviews weren’t wonderful, but never underestimate the power of the Disney marketing machine. Performances begin November 3.
<p>Off we go into the new season.<br />
Fireworks, please.<br />
Hard to imagine that many plays.<br />
A great season opener, Brendan.</p>