By William Wolf

I'LL SAY SHE IS  Send This Review to a Friend

What was it like in 1924 to see the Marx Brothers cavorting on stage? To find out and have a hilarious time hasten to the off-Broadway Connelly Theater, where the lost musical “I’ll Say She Is” has been spiritedly adapted and expanded after considerable dedicated research by Noah Diamond, who also gives a fabulous, spot-on performance as Groucho, complete with the leaning walk, the body gestures and the acerbic wisecracking.

I was skeptical that those phenomenal brothers whom we now know best from the films they did could be properly emulated. But the doubts quickly vanished as I found myself laughing admiringly at the antics of Diamond as Groucho incarnate, Seth Shelden delightfully emulating the physical comedy of Harpo, who even at one point plays a harp solo, and Mat Roper a dead ringer for Chico as he dispenses smart-alecky lines and puns, does Chico’s noted piano riffs and often turns to the audience for approval. To complete the foursome there is Matt Walters as the good-looking brother Zeppo providing the romantic charm.

The production has all of the elements that characterized the kind of musical revue that one might have found when “I’ll Say She Is” was a hit on Broadway in 1924. There is a terrific chorus of 10 singers and dancers, amusingly costumed (designed by Julz Kroboth, with chorography by Shea Sullivan). They aren’t Ziegfeld gorgeous, but a fun assembly of individually appealing gals who know how to capture the required personality of the show. Three even play the trumpet, French horn and trombone in a segment of utter hilarity during which they were trying to keep from breaking up at the performance I attended.

Credits include original book and lyrics by Will B. Johnstone and music by Tom Johnstone, with additional music by Alexander Jonstone. Musical direction and arrangements are by Sabrina Chap, and overall direction is by Amanda Sisk, Diamond’s wife, who keeps the zaniness zipping along with only a few lulls.

There is a cockamamie plot of sorts involving a rich young society woman, Beauty, who is depressed because she is sorely in need of thrills. The show is built upon the brothers trying to provide some of the lacking thrills. I have great appreciation for the talent of Melody Jane, who plays Beauty. She not only conveys her boredom, mixed with leading lady charm, and sings well. But she exhibits terrific comic agility and timing in a particularly funny slapstick scene. Hats off to her!

Praise is also due Kathy Biehl who plays Beauty’s aunt, Ruby, who is a kind of Margaret Dumont type, emphasized by Groucho’s amusingly coming onto her with the requisite insults. Biehl projects remarkable dignity and also sings impressively. The show benefits from a funny and versatile supporting cast that includes Max Weatherup, Jr., C. L. Weatherstone, Corrado Alicata and featured dancer Dante Adela. The romp is saturated with vaudevillian-like sketches, including a madcap Napoleon-era sequence, a courtroom scene and an avalanche of puns expertly delivered.

Although this is a show mounted on a small stage in a small theater, it looms large as a major entertainment that brings a Marx Brothers replica in all their demented glory with amazing fidelity. The aura of the lost Broadway show, never made into a movie, is also captured with the chorus-girl and comedy-style atmosphere of the time. It would have been great to experience the original in the 1920s, but thanks to Noah Diamond and company, we can see this highly enjoyable sampling with laughs galore. At the Connelly Theater, 220 East Fourth Street (Between Avenue A and B). Phone: 212-982-2287. Reviewed June 26, 2016.

BROADWAY BY THE YEAR--THE 1970S  Send This Review to a Friend

By this 16th year of the excellent, Town Hall-presented Broadway by the Year series I tend to approach a new show wondering who of the assembled stars will lift a song above and beyond. There are always several and the survey (June 20, 2016) of the 1970s, created, written, directed and wittily hosted by the erudite Scott Siegel, yielded such special accomplishments.

The always reliable Maxine Linehan was a stunner. When she poured her heart and soul and terrific voice into “I Don’t Know How To Love Him” from “Jesus Christ, Superstar,” the effect was electric. When she sang, among other numbers, “Don’t Cry for Me Argentina,” the result was so powerful that I could picture her playing Evita in a future revival.

The evening was also distinguished by the impressive Farah Alvin. She especially captivated us with “I Still Believe in Love” from “They’re Playing Our Song,” “Gethsemane” from “Jesus Christ Superstar” and, without a mike, “Tomorrow” from “Annie.” I always feel that I never want to hear “Tomorrow” again because it has been sung on so many yesterdays, but with Alvin’s interpretation it was enjoyably fresh. I feel the same way about the much-performed “Send in the Clowns” from “A Little Night Music,” but I appreciated the moving rendition by Rachel Bay Jones.

Among the men, it is always good to have song and dance man Noah Racey back, and he charmed singing “I Can’t Give You Anything But Love, Baby” from “Ain’t Misbehavin,” spicing it with his tap dancing that included a dazzling spin. From that same musical, Carlton Terrence Taylor was brightly amusing with the funny harangue “Your Feet’s Too Big,” the lyrics often aimed from the edge of the stage at audience members.

The very talented Robert Creighton, currently noted for his dynamic portrayal of James Cagney in “Cagney,” effectively reversed the cocky Cagney tone to become the perpetually disregarded “Mr. Cellophane,” from “Chicago,” then dispensed self-assertive power toward the climax. He also teamed with the excellent Jeremy Benton in a vaudevillian-like interpretation of “You’re Never Fully Dressed Without a Smile” from “Annie.”

One of the hit shows of the 1970s was “Grease,” and Morgan Weed was at her best signing “There Are Worse Things I Could Do” from that durable show and also shone with “Time Heals Everything” from “Mack and Mabel.” Kerry Butler scored strongest among her numbers with “Home” from “The Wiz.” There were other striking musicals from the decade. I would have liked to have seen a number from “Follies.” But it is impossible to include everything. The legendary “A Chorus Line” did get represented in a strong finale, with Maxine Linehan leading the company in singing “What I Did For Love.”

Ross Patterson, who has been a major force with the series from the begining, again served as music director and, at the piano, leader of the band that included Tom Hubbard on bass and Jared Schonig on drums. Rick Hinkson served as the show’s assistant director, with Joe Burke and Holly Cruz as production assistants. At TheTown Hall, 123 West 43rd Street. Phone: 212-840-2824. Reviewed June 21, 2016.

INDECENT  Send This Review to a Friend

It would be great if “Indecent” could have a longer or a new run, for this is a profound play that bears more viewing. (It was extended to a closing date of June 19, 2016 in its run at the Vineyard Theatre.) The drama, imaginatively written by Paula Vogel and created by Vogel and director Rebecca Taichman, explores the emergence and fate of a famous play by Jewish writer Sholem Asch--“God of Vengeance.” “Indecent” accomplishes the weaving of this saga into the fabric Jewish culture and history, including the onset of the Holocaust, all of this coupled with the daring subject matter of Asch’s play itself.

Before the play starts we see seven actors and three musicians seated against the back wall of the stage. Soon we meet them all, and they dance and play before us (choreography by David Dorfman), with streams of ash streaming from their garments, a harbinger of what’s to come.

In 1906 in Warsaw young Asch (Max Gordon Moore) is enthusiastically reading his play to his wife, Madje (Adina Verson). She is also enthusiastic and there is tenderness and sensuality between them. But when Asch presents the play to a group of theater professionals, he is greeted with outrage. Asch has dared to write about an owner of a brothel who uses his profits to buy a Torah for his daughter, whom he wants to marry off. But the daughter falls into a relationship with one of the prostitutes, and apart from a religious Jew running a brothel, the idea of women in love on stage is far ahead of its time. In subsequent scenes the women are played by Verson and Katrina Lenk (cast members handle multiple parts).

At the outset a supporter of Asch’s determination to see his play produced is a tailor named Lemmi, warmly played by Richard Topal, who also is cast as the Stage Manager. We follow the play’s fortunes as it gets to be performed in Berlin. Eventually an English version of the play, originally in Yiddish, and performed through the years in many countries, reaches Broadway and in 1923 ignites a firestorm, as the cast and producer are arrested for obscenity, an arrest that actually occurred. (Convictions with fines and suspended sentences after a jury trial were eventually overturned in a landmark decision for theatrical freedom.)

The strength of the “Indecent” production lies in the broad staging strokes, infectious ambiance, the magnetism of the excellent cast and the shifting time frames. The elastic form enables much to be created emotionally as well as historically, and the scene in which actors trapped in the Holocaust are walking in a line toward their fate is shattering.

The production is offered with striking simplicity despite its range. On occasions when Yiddish is used there are subtitles projected at the foot of the stage. Throughout there is a haunting atmosphere into which we are drawn by the cumulative artistry and the high stakes of the content. At the Vineyard Theatre, 108 East 15th Street. Phone: 212-353-3366. Reviewed June 18, 2016.

THE TAMING OF THE SHREW (SHAKESPEARE IN THE PARK)  Send This Review to a Friend

The Public Theater’s Free Shakespeare in the Park is presenting an all-women cast in this summer’s staging of “The Taming of the Shrew” (through June 28), directed by Phyllida Lloyd. One might think that enough of an innovation—women doing all the roles usually played by male actors, a reverse of the custom in the Bard’s time, when women’s roles were played by men. However, Lloyd, known for her adventurous directing, is after more than that. She has aimed for a rollicking, wild, free-wheeling production that turns the play on its head, with women spoofing the male roles they portray.

How you take to this will depend on the extent to which you are willing to revel in an elaborately vulgar staging geared more for low-brow laughs than thriving on the wit in the Bard’s dialogue and the clever confrontations that the misogynistic play contains. Do you really want to see Janet McTeer as Petruchio feigning peeing up against a pole? Or swaggering around as if imitating John Wayne?

McTeer, of course, is excellent in the role in the context of what’s demanded, as are other cast members, including Cush Jumbo as Katherina and Gayle Rankin as her sister Bianca. But the battles between Kate and Petruchio become sharply physical rather than verbal, such as Kate crashing hard against Petruchio’s tender parts and physically thrashing around in general. Bianca is wildly physical too. It is all so very hyper throughout, which provides fun for those who delight in this sort of interpretation but does nothing to illuminate the play.

Great liberties are taken with the work itself, here trimmed to two hours. The show begins with a Padua beauty pageant, with women parading around and showing off their particular talents as if in a beauty contest operated by Donald Trump. When it gets down to the text, the production has a very earthy look, emphasized by the shabby, run-down carnival-like structures designed by Mark Thompson.

Those who accept the concept, embellished with some satirical contemporary comments, will enjoy some of the rowdy performances that can be quite funny, including that of Judy Gold as Gremio. As for the feminist gambit, at the end, after Kate makes her demeaning speech knuckling under to male chauvinist Petruchio, she can’t stomach what she has said, and defiantly rips off some of her clothes to show her disgust. Score points for her, and at this point for the most meaningful moment of the show.

There is somewhat of a tradition that when a play by Shakespeare is presented outdoors under a summer night sky, there is the leeway to have fun with it. People are in the mood. “The Comedy of Errors” was broadly performed in Central Park and it worked with that Bard play. But on this occasion, Shakespeare is all but abandoned for a vaudevillian romp that takes away from seeing how well women might more seriously perform traditional male roles with depth instead of a circus being made out of the innovation. At the Delacorte Theater, Central Park, approached from 81st Street and Central Park West. Phone: 212-539-8500. Reviewed June 14, 2016.

SHINING CITY (2016)  Send This Review to a Friend

Seeing Matthew Broderick ace his role as a troubled widower is enough of a reason to see the Irish Repertory Theatre’s revival of Conor McPherson’s “Shining City,” astutely directed by Ciaran O’Reilly. This is Broderick at his best in a difficult role that calls for a lengthy, complex speech in which he step by step spills his woes to a therapist.

(Click Search and then Theater for a review of a previous Manhattan Theatre Club staging.)

In this drama about human connections and loneliness set in Dublin, Billy Carter plays Ian, the ex-priest therapist, who listens patiently, with a bit of gentle probing, as John (Broderick) tells his story bit by bit. He reports that his wife was killed in an auto accident, and describes how he has been seeing her in his house. The ghostlike phenomenon has upset him. Gradually, we get portrait of John’s life, building up to his present activities, including a stab at romance. There is pathos, punctuated by humor, in his confessional, and Broderick is superb in fleshing out the character as cleverly written by McPherson.

We soon learn in a subsequent scene that Ian has troubles of his own. Carter’s acting is excellent too as he tries to fend off a visit by Neesa, played with shrill passion by Lisa Dawn, a relationship he wants to abandon. She protests about what will happen to her and their child, and he vows to see they are taken care of. Despite her stormy protest, his certainty is that of a man who feels trapped and determinedly wants out no matter what.

Later, we learn something more about Ian when he brings home Lawrence (James Russell), whom he has picked up for sex. Ian is awkward at first about going through with it.

Thus we have tight portraits that the playwright smartly gives us, with the penetrating dialogue along the way. I still do not care for the play’s gimmicky and cheapening ending. It lessens the impact when what has gone before stands firmly on its own before the quick twist. I won’t spoil it by telling you what happens. You’ll have to feel the shock of it and judge for yourself.

Whatever your reaction, the performance by Broderick is well worth seeing. I have grown impatient with clichéd criticism by some that the actor is mainly one note. His work here should dispel any such notions.

With “Shining City” The Irish Rep returns to its own home space, now attractively redesigned so that the awkward audience seating at one side of the stage has been removed, thus significantly widening the playing area. This is the company’s 28th season, and congratulations are in order for Charlotte Moore, Artistic Director, and Ciaran O’Reilly, Producing Director. At the Irish Repertory Theatre, 132 West 22nd Street. Reviewed June 10, 2016.

HERO'S WELCOME  Send This Review to a Friend

Writer-director Alan Ayckbourn displays his very serious side in “Hero’s Welcome,” one of the two presentations in the current Brits Off Broadway series at 59E59 Theaters. (See Search and Theater for a review of the other offering, “Confusions,” a much lighter collection of five plays.) Ayckbourn starts deceptively calm, and then, as more revelations surface, he builds to a strong climax.

Once again he—and we—have the advantage of a brilliant, versatile cast. The same five members from “Confusions” are on hand—Stephen Billington, Elizabeth Boag, Russell Dixon, Charlotte Harwood and Richard Stacey. For “Hero’s Welcome” we also get a bonus, a sixth cast member, the delightful Evelyn Hoskins.

The hero, home from war in an unspecified place and decorated for bravery, is Murray, played by Richard Stacey. He has brought home a foreign wife, whose complicated name is Madrababacascabuna, but called Baba to make life easier. Charmingly played by bright-eyed Evelyn Hoskins, Baba doesn’t speak much English, but with dictionary in hand, she is eager to learn more and comes up with amusingly sophisticated words. As for her native tongue, it is a language concocted for the drama.

The hero is arriving into an undercurrent of resentment. Brad (Stephen Billington), known as Murray’s best friend from the past, is less than enthusiastic in greeting him. Brad’s wife Kara (Charlotte Harwood) is perplexed at the reaction, and we also note how meanly she is treated by Brad. (Later Harwood doubles as Kara’s daughter Simone.)

As the background is exposed, we learn that Alice (Elizabeth Boag), the local mayor who is supposed to do the town’s honors in a ceremony saluting Murray, is still smarting from a relationship with Murray that ended badly. Alice’s husband, Derek (Russell Dixon) does his best to cater to his distraught wife feeling imprisoned by the past, but a bit of a buffoon, he gets into an entanglement when he reluctantly accepts Brad’s mean-spirited bet that he can seduce Baba, and Derek doesn’t know how to keep is mouth shut. Misunderstandings result.

Oh yes, Brad likes to shoot birds for sport and we see the rifle brought into the living room. Will the unwritten law of drama be fulfilled—that if there is a gun in sight it will have to go off at some point?

Acykbourn weaves the strands of the overloaded plot into somewhat of a soap opera, except that in his hands the play comes across as more than that. There is mordant humor underscoring the complications as well as serious observations about character behavior. Despite so much jammed into in the play, Ayckbourn and his marvelous cast can keep us riveted, and his direction is lean and pointed. At 59E59 Theaters, 59 East 59th Street. Phone: 212-279-4200. Reviewed June 10, 2016.

CONFUSIONS  Send This Review to a Friend

British playwright Alan Ayckbourn, like all good authors, writes works of varying quality, but my experience over the years is that he always comes up with a play well worth watching, and most often, exceptional. Now he’s here again as part of the Brits Off Broadway series, and his “Confusions” is a collection of five interrelated short plays that are ingeniously entertaining, thanks in no small measure to extremely talented cast members who are excellent interpreters of Ayckbourn’s insights and whimsy. There are five of them, but it would seem as if we are seeing 22, given their multiple roles.

This terrific and amazingly versatile ensemble includes Elizabeth Boag, Charlotte Harwood, Stephen Billington, Richard Stacey and Russell Dixon. The variety of characters they play sometimes makes them difficult to recognize as the same individuals who were just seen in a roles so totally different. I salute them all.

The opener is “Mother Figure,” a humorous drama of a feisty but harried woman occupied with household chores and caring for her children, a callous husband, and a woman who arrives on the scene and changes the dynamics.

The second, “Drinking Companion,” involves an unfaithful husband trying to get a woman he wants to bed drunk enough to fall victim to his phony line, but is thwarted by her good sense and the intrusion of a woman friend.

“Between Mouthfuls,” set in a restaurant, features two couples hilariously having their problems at different tables, one on each side of the stage. The man at one table discovers that the older man at the other table is his boss, who has not yet spotted him. The main fun lies in the waiter who must navigate through it all, trying to serve while being thwarted by constant interruptions and making us laugh by looking haughtily at the goings-on.

“Gosforth’s Fête” is especially hilarious. In the midst of preparations for a celebration there is a revelation of a sexual affair over a loud speaker when the foolish man involved doesn’t realize that the mike is on and all is broadcast to the crowd outside, embarrassing his lover no end. Ayckbourn is particularly gifted with such farcical situations and the tone of the actors is calibrated exactly right.

The last play, “A Talk in the Park,” sends us home on a sad note, as lonely people sit around in a park desperately trying to communicate with one another.

The collection of plays contains a gamut of maneuvers, emotions, character observations and relationships that add up to an enjoyable visit to the theater. “Confusions” was developed at the Stephen Joseph Theatre in Scarborough, England, where the playwright has flourished. Thus far he has written an extraordinary output of 79 plays, including the one most noted in New York, “The Norman Conquests.” The Brits Off Broadway series is also presenting his “Hero’s Welcome,” being reviewed separately. At 59E59 Theaters, 59 East 59th Street. Phone: 212-279-4200. Reviewed June 9, 2016.

THE TOTAL BENT  Send This Review to a Friend

The Public Theater is jumpin’ like I’ve never seen it before with the rousing musical “The Total Bent,” installed in the Public’s well-shaken Anspacher Theater. The musical charisma of “The Total Bent” comes to us from Stew and Heidi Rosewald, with Stew contributing the text as well as joining the band on guitar and piano, and Rosewald also contributing on bass and keyboard.

It’s as if we are back in the 1960s, when the musical is set, and we are treated to a rousing assortment, mainly including rock, gospel and rhythm and blues, all brought to us by dynamic singing, talented musicians who do justice to the composers, and an overall driving force that gets the audience finger-snapping and foot-tapping, as well as a bit of swaying, as I observed on the night that I attended.

Stew has provided a story on which to hang songs meant to express what is going on in a father-son drama and reflect the period. There is confusion on those counts, but it is the music that always comes through as the crowd-pleaser.

The father, Joe Roy, is played by Vondie Curtis Hall and he is fantastic. When he opens the show with his first number, the result is electric. His son, Marty, played by a super-dynamic Ato Blankson-Wood, writes music for his father, but moves toward his own singing career.

When Marty takes command of the show, his talent shines through brilliantly. His voice is strong, his passion is inbued in every note, and his moves are delightful and sexy, a total package delivered with personality plus.

The father-son conflict expresses itself in a few ways. The setting is Montgomery, Alabama, where the civil rights movement is focused on a bus boycott. Marty sees his dad as too conservative, as he doesn’t believe in demonstrating. Marty is more gung-ho for change. Lyrics express the older view in a chorus singing “Shut up and get back on the bus.”

Joe Roy isn’t happy that Marty is gay and occasionally needles him. There are also arguments about career and music. But the well-intended dramatics reflect the problems of many musicals. They aren’t hashed out coherently and they seem superfluous, given the appeal when the cast and musicians get down to what really turns on the crowd—the songs.

You don’t have to favor all of the musical styles explored, as everything is offered with roof-raising enthusiasm. The performers have the strength and zeal needed to conquer. Director Joanna Settle keeps the intermission-less show pounding away.

One key cast member is David Cale as Byron Blackwell, a British producer who fancies music by African-American composers and artists. He hovers in the show as one with thoughts to express and a force with which to be reckoned. Other contributions come from cast members Kenny Brawner, Jahi Kearse and Curtis Wiley. Marty Beller is musical director and David Neumann has done the choreography. At the Public Theater, 425 Lafayette Street. Phone: 212-260-2400. Reviewed June 3, 2016.

PARAMOUR--A CIRQUE DU SOLEIL MUSICAL  Send This Review to a Friend

When I was a teenager I decided to give my young brother Arnold a treat by taking him to a Ringling Bros. and Barnum & Bailey circus at Madison Square Garden. Not having much money, I had to buy the cheapest seats. Arnold wittily quipped afterward, “We sat so high up we had to look down to see the acrobats.”

I fondly recalled his comment while I attended the Cirque du Soleil Broadway extravaganza “Paramour,” and this time I did plenty of looking up at acrobats either soaring over the orchestra or high above the stage. Such feats are basically what the show is all about.

Yes, there is a feeble plot about making a movie and an overbearing director (Jeremy Kushner) demanding the love of his beautiful star in the making (Ruby Lewis) while she falls for a songwriter suitor (Ryan Vona). There is hardly much point in paying attention to the story-line, let alone critically evaluating it. The show’s strengths lie in the moments when we witness daring and beautifully timed acrobatic artistry, as well as take in the overall colorful production aspects.

There are eye-catching costumes galore, and numbers such as seven lamp shades ascending and providing a kind of lampshade dance above the stage. One beholds an avalanche of effects via projections, lighting design, sound design and heavily amplified music.

Despite the efforts to give “Paramour” a story wrap-around, the show comes down to the basic Cirque du Soleil delivery—awesome gymnastic achievements. Andrew and Kevin Atherton, identical twins, are marvels as they dazzle with assorted aerial stunts that steal the show.

There are other feats that command attention. One of the highlights is the jumping on a seesaw that propels performers very high into the air, where they do somersaults and twists, coming down on a cushioned surface that has to be slid in place perfectly timed to break their falls.

Some intricate gymnastic exhibitions have balletic smoothness and elegance. There are also bits of comedy contributions. One has to sit patiently through the cornball drama and the singing that goes with it. Enough already, I thought, let’s get on with the real business at hand.

The rewards come only with the acrobatics and the production visuals. Those are what children and adults alike can latch onto for a feeling that “Paramour” is worth seeing.

A host of creative hands are involved in the production, too many to list here. At the Lyric Theatre, 213 West 42nd Street. Reviewed June 2, 2016.

YOU'RE A GOOD MAN, CHARLIE BROWN  Send This Review to a Friend

The endearing young performers providing oomph to the York Theatre Company’s revival of “You’re a Good Man, Charlie Brown” are irresistible. Children and adults alike can gain fresh pleasure from this production of the show based on Charles M. Schulz’s comic strip “Peanuts,” with book, music and lyrics by Clark Gesner, additional dialogue by Michael Mayer and additional msic and lyrics by Andrew Lippa.

The idea here is to use a very young cast to conjure the full spirit of Schulz’s characters, giving young audience members the opportunity to see performers closer to their own age. Despite their youth (most from nine to thirteen), the performers come with considerable experience, and it shows. The production generally moves smoothly under the direction of Michael Unger, with music direction by Eric Svejcar and choreography by Jennifer Paulson Lee.

The show brought back memories for me. I saw the 1967 original, with Bob Balaban as a captivating Linus. I remember interviewing him at the time, and of course, Balaban went on to become a distinguished actor, as well as a director, author and producer. I hope at least some of the cast members of this production will go onto greater heights, but meanwhile we can enjoy them at this stage of their careers.

Current audience members will have their favorites. Aidan Gemme is a show-stealer as Snoopy, the lovable dog. With a pair of floppy dog ears, Gemme makes the most of his opportunity, especially when singing “The Red Baron” and “Suppertime.” Jermey T. Villas is especially winsome as the blanket-toting Linus, and he dazzles with some fancy footwork.

Joshua Colley makes an excellent Charlie Brown, the unusual-looking Milly Shapiro provides amusing originality as Sally and Gregory Diaz does well as Schroeder. Mavis Simpson-Ernst as Lucy torments Charlie effectively, sometimes with charm, sometimes more meanly.

The tone of the show mixes naïveté with worldliness, as it should, for the combination gives the show its basic charm. The cast seems to understand this and enjoyably communicates that outlook. I found much pleasure in getting reacquainted with the characters, once again popping out of the strip that has delighted so many fans. At the York Theater at St. Peter’s, 619 Lexington Avenue (at 54th Street). Phone: 212-935-5820. Reviewed June 1, 2016.

  

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