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April 21, 2019

Taylor Mac’s new play, which opened on Sunday at the Booth Theater in a production starring Nathan Lane, is the unlikeliest bird to land on Broadway in many a year. Much like Mr. Mac himself at the end of “A 24-Decade History of Popular Music,” his epic revision of American culture, it is fabulous and bedraggled: a defiant and beautiful mess.

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April 21, 2019

But this is low comedy, so expect plenty of fart jokes and penis wagging and doubles entendre interlaced with the sweet humanity and higher-toned political satire. When Janice instructs Gary on how to clean the corpses for burial, she doesn’t hesitate to poke and prod for gas and to toss intestines around for fun. George C. Wolfe directed this play, so nobody misses a trick with the physical comedy. If poking and prodding and tossing and wagging are called for, it will be done.

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Chris
Jones

April 21, 2019

There’s no middle aisle at this one, folks. Consider yourself warned. The title character in this whacked-out play, a self-declared sequel to William Shakespeare’s whacked-out “Titus Andronicus” and as subversive a comedy as Broadway has ever seen, is what you might call a clown with ambition — which is a pretty good description of the real-life actor who happens to be playing that role with formidable ferocity, Nathan Lane.

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April 21, 2019

And while we’re on the subject of inadequacy, put me down for singling out Lane, who is only the most obvious of the pleasures in Taylor Mac’s Gary: A Sequel To Titus Andronicus, the outrageous, hysterically funny and connivingly moving new play opening on Broadway tonight at the Booth Theatre.

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April 21, 2019

It would be a pleasure to report that the gamble has paid off, at least creatively. Unfortunately, despite the tremendous abundance of talent both onstage and off, the production is mainly notable for being the most batshit-crazy thing to be seen on Broadway in many a moon.

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