New York Daily News

ON BROADWAY

- BY EVAN ROSEN

Aguide to current Broadway shows by Daily News theater critic Chris Jones: & Juliet: A savvy jukebox musical from London offering a feminist reworking of Shakespear­e’s “Romeo and Juliet” with added bits and songs made famous by Pink, Britney and Kesha, et al. This nonstop party-empowermen­t show is derivative, over-confident and fun. Stephen Sondheim Theatre, 124 W. 43rd St.

A Beautiful Noise: The Neil Diamond Musical: Wanna be transporte­d back to when you swayed to “Song Sung Blue,” seduced to “Red, Red Wine,” sniffled to “Love On the Rocks” or were stirred by “Play Me,” before you actually got played in life? Then this biographic­al jukebox tribute to the gravel-voiced singer-songwriter is your show. But if the idea of a “Sweet Caroline” audience singalong sounds hellish, move on down the list. Broadhurst Theatre, 235 W. 44th St.

Aladdin: Disney’s “Aladdin” is a bit too frenetic, gag-heavy and overly anxious to please — but it has settled in as an entertaini­ng family attraction featuring a diverse cast, a fun genie whose antics will always remain a tribute to Robin Williams, and the requisite magic carpet ride against a backdrop of the glittering lights of a utopian Arabian night. New Amsterdam Theatre, 214 W. 42nd St.

Appropriat­e: Not since Steppenwol­f Theatre Company’s “August: Osage County” has Broadway seen such a blistering display of ensemble acting as to be found at director Lila Neugebauer’s ruthless and riveting production of “Appropriat­e,” Branden Jacobs-Jenkins’ ironically titled play about a combative, wounded and self-loathing family who rip each other into little pieces over their dead patriarch’s legacies. Sarah Paulson, the lead performer, is on fire all night long. Belasco Theatre, 111 W. 44th St.

Back to the Future: The Musical. Closer to a thrill-park ride than a traditiona­l musical, this frenetic new spectacle from London showcases a flying DeLorean car essentiall­y re-creating the role played, years ago, by the helicopter in “Miss Saigon.” The show is attracting a family and tourist audience and Roger Bart at peak eccentrici­ty is fun to watch. But unlike the film, the show makes you feel very little. Winter Garden Theatre, 1634 Broadway.

The Book of Mormon: A relic of an era when satirists had more guts, Trey Parker and Matt Stone’s show lampoons the LDS religion with the same sharp edge familiar from “South Park.” Go enjoy a wicked musical from before America lost so much of its sense of humor. Eugene O’Neill Theatre, 230 W. 49th St.

Chicago: This long-lived show celebratin­g real-life killers of prohibitio­n-era Chicago has been pulling in Broadway suckers since 1996. The real stars here are John Kander and Fred Ebb, who penned a score that drips with melodic aspiration and lyrical cynicism, and Bob Fosse, whose erotically muscular choreograp­hy is the perfect match. Ambassador Theatre, 219 W. 49th St.

Hadestown: This dystopian 2019 musical is rooted in the 2010 concept album by Anaïs Mitchell and updates and retells the classic myth of Orpheus and Eurydice via a compelling­ly theatrical blend of steampunk, “Westworld” and self-aware Bourbon St. sensuality. It’s a thrillingl­y alarmist show, albeit potentiall­y jarring to those who prefer warmer or more traditiona­l musicals. Mitchell’s music variously evokes gospel, blues, blue collar work-song and the ravings of a rabid cult. Walter Kerr Theatre, 219 W. 48th St.

Hamilton: Still a tough and expensive ticket, this Lin-Manuel Miranda global cultural phenomenon employs a young, diverse cast to tell the story of Alexander Hamilton, the Founding Father with the long-term berth on the ten-spot, but also a scrappy immigrant who wrote like he was running out of time. The music is eclectic and often gorgeous, the emotional intensity still capable of blowing all else away. Richard Rodgers Theatre, 226 W. 46th St.

Harry Potter and the Cursed Child: An epic commitment requiring two tickets and six hours has now been reduced to a more manageable single show. We purists lament the change, which cut much of the subtlety and fun in the text but left all the spectacula­r theatrical effects. Even in this version, though, Harry Potter fans leave fully satiated. Lyric Theatre, 214 W. 43rd St.

Kimberly Akimbo: Due to a rare genetic disorder, 16-year-old Kimberly of New Jersey has the outward appearance of a 62-year-old woman. This quirky and fascinatin­g new musical proceeds from there, with a Jeanine Tesori score filled with songs about the agony of how the world only spins forward, and usually far too fast for our sanity. Booth Theatre, 222 W. 45th St.

The Lion King: Julie Taymor’s masterful work is 25 years old but still as fresh as a Serengeti morning. This Disney family attraction features stunning puppets, visual tableaux, Elton John songs, African music. It’s deservedly the most successful musical of its era. Minskoff Theatre, 200 W. 45th St.

MJ The Musical: This homage to the King of Pop is set during the creative process for Michael Jackson’s “Dangerous” world tour. Although there is little mention of the MJ controvers­ies (the estate prefers it that way), “MJ” offers the chance to hear a slew of iconic MJ hits and experience his choreograp­hic soul through the simpatico-but-original ideas of Christophe­r Wheeldon. Neil Simon Theatre, 250 W. 52nd St.

Merrily We Roll Along: Broadway never saw a better triple-act than Jonathan Groff, Lindsay Mendez and Daniel Radclife, the triumphant triumvirat­e at the heart of the gorgeous new revival of from the famed British musical theater star Maria Friedman. What a delight they are to watch as life kicks their ever-hopeful characters in the teeth. Life severely batters these old pals in this brilliant, backward-moving musical about showbiz types by Stephen Sondheim and George Furth, as based on an old Kaufman and Hart play. It’s a near-perfect production. Hudson Theatre, 141 W. 44th St.

Moulin Rouge the Musical!: A decadent live translatio­n of Baz Luhrmann’s widely beloved 2001 movie musical and an intense, anachronis­tic extravagan­za that stuffs cuts of pop anthems (70 songs! 161 composers!) inside a letter-box of gorgeous retro-red velour. This is date-night pastiche with a unifying communal playlist, and an omnisexual dip into a sensual ocean with nervous fellow travelers. Al Hirschfeld Theatre, 302 W. 45th St.

The Notebook: This weepy new musical based on the 1996 Nicholas Sparks novel and the hit 2004 movie has a gorgeous suite of songs from Ingrid Michaelson, landing somewhere between Duncan Sheik, Jeanine Tesori and Sara Bareilles. The populist show is not for romantic cynics, as you might expect, but this actually is a strikingly artful and minimalist telling of love across generation­s. Gerald Schoenfeld Theatre, 236 W. 45th St.

SIX: The Musical: Just 90 minutes, this small-cast original pop musical is centered on the six wives of Henry VIII who bond in a post-death sisterhood and compete for who actually had the worst time with their bearded pig. Audiences generally ignore the relatively thin gruel and have an empowering blast. Lena Horne Theatre, 256 W. 47th St.

Sweeney Todd: The Demon Barber of Fleet Street: Far and away the best revival of the season, the new production stars the endlessly droll Annaleigh Ashford and the brooding Josh Groban. At once funny, scary and disarmingl­y moving, this must-see show allows Stephen Sondheim and Hugh Wheeler’s Gothic revenge tragedy of a musical to howl anew with the agony of human injustice and the ameliorati­ng constancy of love. Lunt-Fontanne Theatre, 205 W. 46th St.

Wicked: Now more than 20 years old, “Wicked” is one of Broadway’s best loved attraction­s. It’s a prequel to “The Wizard of Oz” and focused on the intense friendship between two witches, one good, one maybe better. The Winnie Holzman book is a witty tour de force and Steven Schwartz came up with a bevy of emotional numbers, including “Defying Gravity,” one of the great Act One closers of all time. Gershwin Theatre 222 W. 51st St.

Drake is denying Rick Ross’ claim that the superstar hip-hopper got a nose job, posting a humorous text exchange with his mother Sunday in which he tells her Ross has “gone loopy” and is simply angry because he “hasn’t eaten in days.”

The post comes a day after Ross, a former collaborat­or, dropped a diss track called “Champagne Moments” that takes aim directly at Drake, alleging “you had an operation to make your nose smaller than your father’s nose.”

“Aubs — the internet is saying you got a nose job?? You looked the same to me in the kitchen today,” Drake’s mother texted him Sunday morning, referring to him by a nickname for his given name, Aubrey. “I can’t believe you would get one without me … you know I always wanted one,” she added.

Drake answered with several laughing emojis and typed, “I would have got us a 2 for 1 deal if I went ma … It’s coming from Rick Ross the guy I did songs with he’s gone loopy off the Mounjaro he hasn’t eaten in days and it’s turned him angry and racist he’s performing at proms for money it’s bad don’t worry we’ll handle it.”

The Canadian artist implied that Ross, a notoriousl­y heavyset rapper, was taking Mounjaro, an antidiabet­ic medication also used for weight loss.

Drake also called Ross “racist” because of other lyrics in the diss track that implied he got the nose job because he wanted to look white. The “Hotline Bling” rapper is of mixed background.

The text exchange is another developmen­t in the ongoing rap feud that appears to be Drake vs. Everybody.

Earlier Saturday, a diss track was leaked with Drake taking aim at a number of high-profile artists including Ross, Future, Kendrick Lamar, The Weeknd and Metro Boomin.

 ?? ?? & JULIET ALADDIN
& JULIET ALADDIN
 ?? ?? APPROPRIAT­E
APPROPRIAT­E
 ?? ?? KIMBERLY AKIMBO
KIMBERLY AKIMBO
 ?? ?? Drake (left) struck back at Rick Ross (inset) who claimed the hip-hop star got facial surgery.
Drake (left) struck back at Rick Ross (inset) who claimed the hip-hop star got facial surgery.

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