Theater Update: Searching for Brian Friel

Jesse Green on a riveting 'Stereophonic'

View in browser|nytimes.com Continue reading the main story November 1, 2023 Dear Theater Fans, If you visit the small St. Connell's Museum in Glenties, Ireland, as Laura Collins-Hughes did in September, you will learn that both Liam Neeson and Stephen Rea were in the original cast of Brian Friel's "Translations" in Derry in 1980. "Translations" is one of the playwright's Ballybeg plays being revived this season by the Irish Repertory Theater. (It's onstage now, and scheduled to run through Dec. 3.) That fictional town was inspired by Glenties, where Friel spent his childhood summers. "Still you can hear echoes of Glenties in those plays, and echoes of those plays in Glenties," Laura writes in her lovely dispatch (with equally lovely images by Finbarr O'Reilly). From Ireland, you can travel with Brian Seibert to the nightclub scene of 1940s Chicago. Brian has written an excellent piece detailing the efforts to revise the musical "Pal Joey," which begins performances tonight at City Center. Next, travel with our critic Jesse Green to a recording studio in 1970s California where a band is nearly destroying itself making an epochal album. That's the focus of "Stereophonic," David Adjmi's riveting new play, Jesse writes in his review, with some fantastic radio-ready songs by Will Butler and a great cast. We also have Elisabeth Vincentelli's delightful interview with Graciela Daniele and Priscilla Lopez, who are working together on Michael John LaChiusa's memory musical, "The Gardens of Anuncia," and Jesse's review of "I Can Get It for You Wholesale," another show that has been revised for a new era — with mixed results. On that note, here's Barbra Streisand singing "Miss Marmelstein" from the original production of "Wholesale," the show in which she got her big start at 19. Please reach out to me at theaterfeedback@nytimes.com with suggestions for stories or to offer your thoughts on what you've read. And urge your friends to subscribe to this newsletter by clicking here. Have a wonderful week, Nicole Herrington Theater Editor (@nikkih04) Finbarr O'Reilly for The New York Times Searching for Brian Friel, and His Mythical Ballybeg Irish Repertory Theater's season-long survey of the playwright's work prompted our reporter to seek out the Irish town that inspired the imaginary site of so many of his plays. By Laura Collins-Hughes Amir Hamja/The New York Times Joey Evans Is Back. This Time He's a Struggling Artist. A new "Pal Joey" at City Center has reimagined the never-quite-satisfying script to make Joey (Ephraim Sykes) a forward-thinking Black jazz singer. By Brian Seibert Continue reading the main story ADVERTISEMENT Like this email? Forward it to your friends, and let them know they can sign up here. NEWS AND FEATURES Clark Hodgin for The New York Times Good Times and Bum Times Made These Theater Veterans Even Stronger Graciela Daniele and Priscilla Lopez are working together on Michael John LaChiusa's memory musical, "The Gardens of Anuncia," inspired by Daniele's early life. By Elisabeth Vincentelli Richard Termine Hundreds of Shadow Puppets Were Stolen. A Bystander Helped Crack the Case. Many of the puppets were still missing, however, after the theft of a U-haul truck in San Francisco holding props for the critically acclaimed Persian epic "Song of the North." It was unclear if the show would go on. By Livia Albeck-Ripka Jane Stockdale for The New York Times West End Theatergoers Grumble as Prices for the Best Seats Surge Concern is growing that a night at the theater in London is becoming unaffordable, especially when a production has starry names, like Kenneth Branagh's "King Lear." By Alex Marshall Jim Cox Huey Lewis and the News Musical Is Coming to Broadway in March "The Heart of Rock and Roll" is a romantic comedy featuring songs by the chart-topping 1980s band. By Michael Paulson Matthew Murphy 'Lempicka,' New Musical About Art Deco Artist, to Open on Broadway Rachel Chavkin of "Hadestown" will direct the show, which had developmental productions in Massachusetts and California. By Michael Paulson Elias Williams for The New York Times Thornton Wilder's 'Our Town' to Return to Broadway Next Fall A new production, directed by Kenny Leon, will feature a diverse cast and will aim to speak to contemporary America. By Michael Paulson Liz Lauren 'Tommy,' the Who's Rock Opera, Will Return to Broadway An acclaimed revival of the musical plans to open in March at the Nederlander Theater. By Michael Paulson Continue reading the main story ADVERTISEMENT WHAT TO SEE ONSTAGE THIS FALL Golden Cosmos Broadway Shows to See in November The new musical "How to Dance in Ohio" takes the stage, and "Jaja's African Hair Braiding" will play its final performance on Nov. 19. By Laura Collins-Hughes Sara Krulwich/The New York Times Fall Preview Musicals, Plays and Festivals to Take In This Fall and Spring A starry Sondheim revival on Broadway, Alicia Keys's new musical and John Turturro in a Philip Roth adaptation: a guide to this season's theater. By Steven McElroy OBITUARIES Masheter Movie Archive/Alamy Joanna Merlin, Known for Her Work Both Onstage and Off, Dies at 92 Soon after appearing in the original Broadway production of "Fiddler on the Roof," she began a new career as a prominent casting director. By Richard Sandomir FROM THE CRITICS Sara Krulwich/The New York Times Critic's Pick Review: In 'Stereophonic,' the Rock Revolution Will Be Recorded David Adjmi's riveting new play, with songs by Will Butler, is about a '70s band that nearly destroys itself making an epochal album. By Jesse Green Sara Krulwich/The New York Times 'I Can Get It for You Wholesale' Review: Rag Trade Revival, Recut for Today A story considered too dark for Broadway in its time is too much of a patchwork in ours. By Jesse Green Sara Krulwich/The New York Times Critic's Pick 'Merry Me' Review: A Loopy Sex Comedy Focused on Female Pleasure Hansol Jung's new play riffs on Greek dramas, the Restoration comedy "The Country Wife" and Tony Kushner's "Angels in America." By Laura Collins-Hughes Joshua William Gelb Critic's Pick 'Nosferatu, a 3D Symphony of Horror' Review: A Lip-Smacking Scare This creepy Halloween show is the latest visual feat from Joshua William Gelb, presented by Theater in Quarantine and produced in a closet. By Elisabeth Vincentelli Joan Marcus Critic's Pick 'Covenant' Review: When Inner Turmoil Is Its Own Ghost Story The playwright York Walker makes a promising New York debut at Roundabout Underground. By Juan A. Ramírez Richard Termine 'Artificial Flavors' Review: Blame ChatGPT for This Musical Each performance culminates in a production, composed on the spot, with misguided help from artificial intelligence. By Naveen Kumar Evan Zimmerman for Murphy Made 'The Great Gatsby' Review: A Musical Take on Tragic Desire This new version of F. Scott Fitzgerald's classic remains largely faithful to the novel, but it trades subtle prose for a straightforward production. By Brittani Samuel Maansi Srivastava/The New York Times Critic's Notebook 'Make Noise Enough': Excavating Shakespeare's Songs In Shakespeare, music is an integral part of the action. But the First Folio, which turns 400 this year, failed to transmit how it should sound. By Corinna da Fonseca-Wollheim Continue reading the main story ADVERTISMENT FROM THE CRITICS IN EUROPE Johan Persson Review: Kenneth Branagh's Short, Shallow 'King Lear' The veteran actor directs and plays the title role in a brisk and curiously weightless London production. By Matt Wolf Barbara Braun Critic's Pick Review: 'Chicago,' With Nary a Finger Snap Barrie Kosky's Berlin production of the 1975 musical adds a touch of burlesque and a dash of Bertolt Brecht. By A.J. Goldmann Joe Twigg 'Boy Parts' Review: Onstage, a Dangerous Woman Isn't Enough A London production adapted from Eliza Clark's debut novel refuses to justify its unreliable narrator's violence, but lacks narrative depth and complexity. By Houman Barekat Manuel Harlan Review: 'Lyonesse' Is a Starry Mess In London, Lily James and Kristin Scott Thomas do their best in a new play that careers between near-slapstick one minute and speechifying the next. By Matt Wolf Continue reading the main story Need help? Review our newsletter help page or contact us for assistance. You received this email because you signed up for Theater Update from The New York Times. To stop receiving Theater Update, unsubscribe. To opt out of other promotional emails from The Times, including those regarding The Athletic, manage your email settings. To opt out of updates and offers sent from The Athletic, submit a request. Subscribe to The TimesGet The New York Times app Connect with us on: Change Your EmailPrivacy PolicyContact UsCalifornia Notices The New York Times Company. 620 Eighth Avenue New York, NY 10018