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This whole operation feels a little buried in its own footprint. Yet the cumulative result is inescapably magical.
"A long, wet, occasionally musical fart unsphinctered in a crowded theater."
This new chamber musical is a production to remember and celebrate, as well as the announcement of several major talents.
Special “British Playwrights Who Are Shamefully Underproduced in the U.S.” edition.
Leap feels like the not-awful, not-wonderful product of a long series of compromises.
The gags all unfold at half-speed, as if forestalling mortality.
Matthew Broderick aptly handles the Gershwin mania.
And no potter's wheel: Sorry, purists!
It's firing on all cylinders.
Abandon all pieties, ye preening progressives (white or black) who enter here.
A marvelously executed, deceptively straightforward bit of comic roughhouse.
A play that's fit to govern our attention for three-plus hours.