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August 18, 2010

Could it be that the Capeman — who for 12 long years has been wandering like a Flying Dutchman through the imaginations of many a New York theatergoer — has finally found his natural home? The title character from “The Capeman,” Paul Simon’s musical retelling of a street-gang murder from 1959, seemed anything but at home when he showed up on Broadway in 1998 in a big, stultifying musical that seemed both overdirected and directionless. You had seldom seen a man or a show look so damned uncomfortable, and uncomfortably damned.

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