It's Theatre Thursday! I saw "Spongebob" on Broadway and we're gonna talk about it! It closes September 16.

​He’s says he’s ‘not a simple sponge’…but he kind of is. And although fans of this season’s new Broadway musical “Spongebob Squarepants” will say that people of all ages can enjoy the show (and that’s true, they will), it was created for kids and that’s who it’s geared towards and that’s who I am and that’s who I care about. Okay not the last two bits I got carried away. “Spongebob” the musical is a lot of fun, and a technical marvel, but it’s a bit of a letdown for adults. And considering adults have to accompany the screaming children (yes they did scream) to the theatre and buy at least two tickets, the profit-making model for this show doesn’t really work. Unlike Disney shows from the past, the adults aren’t given equal consideration here, and so few adults will be present without children (I think my sister-in-law and I were the only unaccompanied adults when we saw it). And while it’s very sad news, I’m not surprised that the show just announced that it will be closing in September, because it takes a lot of rich people to decide to spend $100+ on taking their kids to see this when they’ve been watching the TV show for free for years. 
READ IT ALL! 

The renowned restaurant Tredwells, in the Seven Dials area of the West End (close to “Matilda”!), has joined the happy trend of mainstream restaurants doing special-night plant-based supper clubs. And yes, they do mean vegan. Calling their one-night-a-month supper club “Vegwells” to be adorable, Tredwells in their attempt this past Monday has lept ahead of the competition. I’d expect nothing less from a restaurant of Marcus Wareing, the celebrity chef with the two-Michelin starred restaurant in Knightsbridge (remind me to look into whether that one is vegan-friendly too, and thus a candidate for the Vegan Michelin series). So I just googled Marcus Wareing and was like ‘hmm why is he sooo familiar looking’ and realized it’s because he was on an episode of Masterchef that Husbo P and I watched during our short but EMBARRASSING hate-fueled obsession with that terrible addictive af show. Anyway, the Tredwells chef, Chantelle Nicholson, has created this ‘plant-based’ supper club to highlight the magic that can unfold when you focus on good, sustainable ingredients. As the author of an apparently vegan (!!) cookbook called Planted, she seemed up to the challenge of impressing me with this meal. Spoiler, she did.
READ IT ALL!

It's Theatre Thursday! We're talking about "The King and I", which is now playing in the West End after transferring from Broadway! 

​Seeing “The King and I” at Lincoln Center Theatre three years ago (I remember because it was my birthday) was a magical theatrical experience, one that felt majestic and classic, as well as classy. From the opening scene with that enormous boat gliding into the orchestra, to the last moving moments, I was enraptured with its perfect direction and flawless performances. With that Broadway production’s transfer to London, complete with its top two stars, Kelli O’Hara finally gets to show the West End what incredible talent looks/sounds like and Ken Watanabe keeps getting to make audiences laugh. But the production feels like the final moments of “Pippin” when compared to the Broadway incarnation – like when everything is stripped away to show what the stage would be like without magic. Sure the lights and costumes and music are all there, but it feels like the magic is missing. The lackluster feel is partly due to the theatre it’s in (the Palladium), partly due to a West End cast that just isn’t as top notch, and partly due to the wackiness of the source material being exposed in this new light.
READ IT ALL! 

I have a theory, and it’s not about people who live in Lake Erie, although I have been listening to the cast recording of “Bandstand” a lot lately. (I have to throw some bones to the theatre readers when it’s not Thursday.) I think the most vegan-friendly cities are places that are extra-trying to show how progressive they’ve become since their not-so-great pasts, whether consciously or not. In Europe at least, the places that were hit hardest during World War II, whether literally by being destroyed or politically by falling prey to fascism, have been incredibly vegan-friendly in my experience. When I’ve been in Berlin, for example, with its endless vegan signs and tattooed yoots and overall sense of freethinking and tolerance, it seems like the people are on a particularly passionate mission to prove that they’re no longer Nazis, and with that sort of progressive thinking comes veganism! I got the same vibe when I was in Warsaw, Poland, which was decimated by the Nazis during the war as we learned last week. Warsaw’s rebuilding after the war came with sort of a rebirth similar to Berlin’s, and I was delighted to find that it is a bona fide vegan paradise. 
READ IT ALL!

​It’s...not Theatre Thursday, but this production closes on Broadway today and I didn’t realize.

​Joe Mantello is a magician. Not a director, not an actor, a magician. Everything I’ve seen him do, whether it be acting or directing (okay, he is an actor and a director), is flawless, and his direction of the latest revival of “Three Tall Women” is that again, plus all the other superlatives you could think of. Of course, Joey M had the benefit of directing some of the best actresses of the modern age, as well as the rich source material of this challenging, thrilling play. I was unfamiliar with this particular Edward Albee classic, but I am happy to say that it continued the trend of my enjoying and appreciating Albee’s plays, which is a nice change of pace from my reactions to other playwright kings (*cough* Pinter *cough* Mamet*). I bought tickets to TTW superfast because Glenda Jackson, the closest you can get to royalty without being royal, was making her big return to Broadway after her amazing life of winning two Oscars, playing King Lear in London, and…serving in Parliament for more than twenty years. I had to go see the f-ing thing!
READ IT ALL!

It’s Theatre Thursday! Today we are talking about “My Name is Lucy Barton” at the Bridge Theatre in London, playing until June 23.

The best one-man shows are those that make you forget that only one person is up on that stage. It takes an enormous talent to fill a theatre so completely that you feel the force of a whole company entertaining you with their stories. The last time (maybe only other time?) I felt like a stage was filled with several great entertainers instead of just one was in Michael Urie’s brilliant one-man show Buyer and Cellar. Now the wonderful Laura Linney manages to achieve a similar result in The Bridge Theatre’s “My Name is Lucy Barton”, in which she tells her story so vividly and describes other people so keenly that it feels as effective as a play with a big ensemble. She distracts you from how hard she’s working up there with how realistic her storytelling is. Directed by Richard Eyre, this moving tale of one woman's struggles to come to terms with her past while recognizing her internal pain is at times funny, depressing, and surprisingly universal in its representation of the humanity of loneliness.
READ IT ALL!​

Warsaw is one of the most surprising cities I've ever visited. Usually, I am a tough critic when traveling (especially if I don't have a bathroom or a nice bed). But I became a fan of Warsaw almost instantly and jumped right into exploration and appreciation of this important city. It's a city of contrasts: it feels hospitable and welcoming yet still retains an air of eastern European coolness. The desire to progress and rise above its history is palpable, amid seemingly innumerable monuments to the past. You feel almost overwhelmed by all the history surrounding you, yet every building is almost brand-new. There's a lot to understand when visiting Warsaw, and it's a rewarding undertaking. Even though I had zero expectations (or maybe because of that), Warsaw quickly became one of my favorite places. 
READ IT ALL! 

It’s Theatre Thursday! Today we are talking about “The Rink”, at the Southwark Playhouse until June 23. 

​​Confirming our long-held belief that the best of London musical theatre happens at Southwark Playhouse, their latest production of “The Rink” is a flawless gem. The 10th venture from theatre gods Kander & Ebb, “The Rink” tells the story of Anna, an Italian-American woman with an estranged daughter, who owns a rundown roller-skating rink on the boardwalk by a changing-for-the-worse seaside. The original 1984 production starred Chita Rivera and Liza Minnelli as the mother and daughter, so if you were alive to witness that you probably died from the experience. It won Chita the Tony, yet was poorly received by critics, especially sourpuss Frank Rich at the failing New York Times. (Fun fact: Director Rob Marshall was a performer in that production.) I can’t imagine how different that production had to have been from the brilliance that’s occurring at the Southwark Playhouse right now, because it may be the best musical production on a London stage right now and I know I can’t compare myself to the New York Times (I don’t support Nazis, for one), this shit’s gonna be a rave. 
READ IT ALL! 

​Woof. And I don’t mean in the adorable doggie way. What a season we’ve had on Broadway this year! To be clear, I’m mostly talking about the musicals; I haven’t seen many plays this year. (Which is a shame, because the plays are a lot better.) But I’ve seen a lot of musicals, and man alive. Only one new musical was actually of the high caliber we expect on Broadway. Sure the others were still better than a lot of musicals on the West End (I will not stop criticizing West End musicals until they learn to live up to their potential), but nowhere close to what we would expect from Broadway professionals who shouldn’t be rushing apparent first drafts of work to the stage. Yet a lot of what is now playing in NYC feels exactly like that: first drafts that no one had the balls to say ‘wait this needs more work’ about before letting it go live and risking millions and millions of dollars. The worst part is that there are no new stories being told: Although our hero of the year, “The Band’s Visit”, feels new and fresh, it is actually derived from an Israeli film. Which is fine and well and good, especially since it’s a little known film so the story isn’t overdone in the least. But its three major competitors are much more well known and the sort where for even one of them you’d be like, that’s a Broadway musical now? but when you have all three together you are the embodiment of the smack-my-head emoji all day err day.
READ IT ALL! 

It's Theatre Thursday! We're talking about "Carousel" at Broadway's Imperial Theatre.

​When the current revival of “Carousel” was announced last year, everyone was beside themselves with excitement. With a cast including Jessie Mueller as Julie Jordan, Joshua Henry as Billy Bigelow, and opera diva Renee Fleming as Nettie Fowler, it ranked among the most incredible Broadway news in recent memory. Finally a phenomenal leading role for Josh Henry! Jessie Mueller never disappoints! Renee f-ing Fleming! This cast singing that wonderful, much-loved score? Hopes were insanely high all across the Broadway community, and of course such expectations could not go unfulfilled, right? I mean, this is “Carousel”, one of Rodgers and Hammerstein’s most beloved works and the musical that many (including Time Magazine in 1999) consider the best of the 20th century. Bring this shit on!, we all thought expectantly. Well, a word in that previous sentence applies to this production more than I ever could have guessed. 
READ IT ALL!