THE QUEEN OF VERSAILLES Doesn’t Quite Reign Over Broadway
Saddled with an unmemorable score by Stephen Schwartz (Wicked, Pippin) and a confused book by Lindsey Ferrentino (Amy and the Orphans), Versailles glides by as bland bio-musical for much of its excessive runtime, the show’s perspective on Siegel meandering confusedly between misplaced sympathy and perverse fascination. That is until both the text and director Michael Arden’s staging (crisp up to this point, if sleepy) jolt suddenly to life in the story’s final section, as the overall tone shifts abruptly into bitter rage.
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Pope/Bettany Elevate ‘The Collaboration’ Into Art Worth Contemplating
One of them paved a path of his own ascending to artistic godhood by glorifying the mundane; the other painted SAMO (meaning the Same Old Sh*t) criticizing the very idea of repetition. One of them broke down the wall between art and business; for the other, walls didn’t mean a thing. One saw beauty, immortality, […]
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Complex Men and Caricatures of Women Are Caught ‘Between Riverside and Crazy’
Walter “Pops” Washington, as he self-describes in Stephen Adly Guirgis’ Pulitzer-winning play Between Riverside and Crazy, is “a flesh and blood, pee standing up, registered Republican.” He is also a litigious former cop caught within the crossroads of bureaucracy, racism, life as a widower, and a fast-gentrifying Riverside Drive. He also happens to be Black. […]
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