Showtime! features reviews, commentary and assorted theatrical musings from Michael Dale,'s Chief Theatre Critic. To submit amusing backstage banter, absurd audience observations or noteworthy links to Showtime!, click here. Anonymity's guaranteed. My not taking credit for your clever remark isn't. Subscribe to RSS Feed

Can You Hum The Direction?


If it were possible to leave a theatre humming the direction, Gabriel Barre's exemplary work in Amazing Grace would send audiences off with a melody as sweet and memorable as the beloved hymn that gives the new musical its title.


Click here for my full review of Amazing Grace.


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Posted on: Saturday, July 18, 2015 @ 01:13 PM Posted by: Michael Dale

Foster Raises The Roof


Nothing saps the tension out of the life or death final moments of a musical drama like giving away the ending in the opening scene. While Andrew Lippa's substantially revised version of his 2000 musical The Wild Party, mounted this week via Encores! Off-Center, doesn't spill every bean right from the start, audience members can be forgiven for mentally waving their hands in a "get on with it" gesture once the drawn out gunplay commences late in the second act.


Click here for my full review of The Wild Party.


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Posted on: Saturday, July 18, 2015 @ 01:12 PM Posted by: Michael Dale

Singing Marios


Having never played a Nintendo game and possessing only a passing knowledge of the existence of Super Mario Brothers, I'm certain there are plenty of jokes and references in Drew Fornarol and Marshall Pailet's musical comedy, Claudio Quest, that whisked right by me.


Click here for my full review of Claudio Quest.


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Posted on: Wednesday, July 15, 2015 @ 01:56 AM Posted by: Michael Dale

Magic Without The Mystery


There's an unexpectedly touching moment near the finish of Penn & Teller on Broadway, after the needles are swallowed, the nail gun is fired at someone's head and the cow dressed as an elephant disappears. Penn Jillette, the large hucksterish spokesman of the duo, tells of being a 17-year-old fascinated with the 10-in-1 sideshows he'd see at county fairs.


Click here for my full review of Penn & Teller on Broadway.


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Posted on: Monday, July 13, 2015 @ 08:00 AM Posted by: Michael Dale

It Really Is Illegal


In February of 2003 the New York City Council overrode Mayor Michael Bloomberg’s veto of a bill that would ban the use of cell phones in any “indoor theater, library, museum, gallery, motion picture theater, concert hall or building in which theatrical, musical, dance, motion picture, lecture or other similar performances are exhibited."  The law carries a $50 fine.


Bloomberg’s opposition to the law has always been that it’s “unenforceable” and certainly any theatre-goer in the past dozen years will tell you that, despite the efforts of house staff, it’s difficult to control cell phone use during a performance without further disturbing people’s enjoyment of the show.


Anybody have any brilliant ideas on how to make the existing law more enforceable?


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Posted on: Thursday, July 09, 2015 @ 12:30 PM Posted by: Michael Dale

Winnie Loves Willie


If Samuel Beckett hadn’t written Happy Days, which premiered Off-Broadway in 1961, some smartass trying to satirize existentialist theatre probably would have.


Click here for my full review of Happy Days.


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Posted on: Tuesday, July 07, 2015 @ 01:09 AM Posted by: Michael Dale

Looking More Like A Hell Of a Town


Sono Osato originated the role of Ivy Smith in On The Town in 1944. Her Japanese-American father couldn't attend opening night because he was was being held in an internment camp. In its day that production was noted for being far more racially integrated than the usual Broadway musical, with non-white actors playing roles that weren't scripted as token representations of their race. That tradition continues with Misty Copeland playing Ivy for a 2-week run in August.  Wishing her a hell of a run.


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Posted on: Monday, July 06, 2015 @ 10:35 AM Posted by: Michael Dale

Cranky Old Showtune Fan


Me twenty years from now: "You kids today with your 4th of July screenings of the movie version of Hamilton. In my day we had 4th of July screenings of the movie version of 1776 and we liked it!"


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Posted on: Sunday, July 05, 2015 @ 06:31 PM Posted by: Michael Dale

A Brief Appreciation For John Dickinson


"My conduct, this day, I expect will give the finishing blow to my once too great, and my integrity considered now, too diminished popularity. It will be my lot to know that I had rather vote away the enjoyment of that dazzling display, that pleasing possession, than the blood and happiness of my countrymen—too fortunate, amidst their calamities, if I prove a truth known in Heaven, that I had rather they should hate me than that I should hurt them. I might indeed, practice an artful, an advantageous reserve upon this occasion, but thinking as I do on the subject of debate, silence would be guilt." – John Dickinson, before congress, on his refusal to vote for independence, July 1, 1776



While the rest of the country celebrates Independence Day with barbeques and fireworks, musical theatre lovers like me will gather around their television sets for the traditional viewing of what I and many others call the finest film ever made from a Broadway musical, 1776.


Movie lovers hate this one because it's so stagy, but that's exactly what I love about it. With Broadway director Peter Hunt serving the same duties behind the camera and bookwriter Peter Stone adapting his work and Sherman Edward's score for the screen, plus a congress of stage actors, many of them repeating roles they originated on Broadway, 1776 comes about as close as you can get to recreating the live theatre experience on film without simply sticking a camera in row G center orchestra.


But while 1776 is often cited as having one of, if not the best book ever written for a musical (everyone knows the story will end with congress voting for independence and yet Stone brilliantly makes you wonder how the devil its going to happen), I'd like to take a moment to address a gross historical inaccuracy. One that makes a villain out of a true American hero. I'm talking about the musical's depiction of the delegate from the colony of Pennsylvania, Mr. John Dickinson.


While the authors paint Dickinson, especially memorable in Donald Madden's film portrayal, as a sneering elitist man of property who objects to independence for fear of the harm it may cause his personal economy, the actual John Dickinson is remembered by historians as one of the great heroes of the revolution. But what separates him from the other famous founding fathers is that, married to a devout Quaker and influenced by the practices of that society for most of his life, Dickinson was a pacifist. Oh sure, he once got into a fight in the middle of Pennsylvania's general assembly during a particularly spirited debate and he did recognize that circumstances may sometimes dictate war as a means of defense, but when Stone has the character calling for "a gentler means of resolving our grievances than revolution" it accurately conveys the man's passionate belief in diplomacy and non-violence as means of settling disputes.  Though when Stone has Dickinson derogatorily calling John Adams, "Lawyer!" it doesn't make much sense since he was one himself.


The musical has Adams saying Thomas Jefferson writes "ten times better than any man in congress," but in actuality it's John Dickinson who was known as "The Penman of the Revolution." His 12-part essay, Letters from a Farmer in Pennsylvania to the Inhabitants of the British Colonies, was considered a major influence in convincing colonists to unite against Parliament's taxes levied by the Townshend Acts, and so impressed Benjamin Franklin that he published it for distribution in England.


In the musical, when John Adams pressures Thomas Jefferson into writing the Declaration of Independence by quoting his work in the Declaration of the Causes and Necessity of Taking Up Arms, he is actually repeating the words of John Dickinson. Though congress gave Jefferson the first crack at drafting the document meant to explain to the world why blood was being spilled between colonists and the army of their mother country, his version was considered too forceful, so Dickinson was asked to write a new version using softer language. It was he who penned, "…the arms we have been compelled by our enemies to assume, we will, in defiance of every hazard, with unabating firmness and perseverance, employ for the preservation of our liberties; being with one mind resolved to die freemen rather than to live slaves."  Did Stone just mess up here or was he perhaps having Adams playing a mind game with Jefferson?  No, I think he just messed up.


Oh, and speaking of slaves, Dickinson was the only founding father to free all of his slaves in his own lifetime, beginning the expensive legal process in 1777.


Jefferson also wrote the first draft of the Olive Branch Petition in 1775; a letter directed to King George III stating that the colonies favor reconciliation over revolution but again Dickinson was brought in to make revisions. And while Jefferson was busy scribbling his parchment with what would become the Declaration of Independence, Dickinson was assigned, at the same time, to head the committee that would write the Articles of Confederation, reasoning that the colonies couldn't declare anything as a whole without an outline for how they would unite.


When the declaration was debated and accepted, John Dickinson stood quietly in the back and refused to vote. He could see the inevitable, but stood by his convictions and was the only member of congress to not sign. Many considered him a traitor for his inaction while others admired his courage in sticking with his unpopular beliefs.


When the musical's Hancock remarks that they are about to "brave the storm on a skiff made of paper" he is actually quoting Dickinson's argument against sending his ill-prepared countrymen to fight against what was then the world's greatest army.


Dickinson did serve briefly in the Continental Army and was a member of the Constitutional Convention, putting his writing skills to further patriotic use by authoring a series of letters, under the penname "Fabius," calling for ratification.


Perhaps 1776 would not have grabbed audiences so strongly if the main conflict was between the rebellious John Adams and an eloquent proponent of non-violence who was working hard to help his country through diplomacy. Sometimes people like having good guys and bad guys clearly defined for them. Nevertheless, on the day when we honor American patriots, let's not forget those who strived to win battles with words instead of guns.


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Posted on: Saturday, July 04, 2015 @ 10:39 AM Posted by: Michael Dale

Greene Glimmers


The singer isn't Edith Piaf and the song isn't "La Vie En Rose" but for a few minutes on the City Center stage, there really isn't very much difference as Ellen Greene, playing a woman who endures beatings and verbal abuse from her lover because she doesn't think she deserves any better, sings of her simple dream to marry a nice, kind man and live happily ever after in the comfortable conformity pushed by television commercials as early 1960s American heaven.


Click here for my full review of Little Shop of Horrors.


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Posted on: Friday, July 03, 2015 @ 09:23 AM Posted by: Michael Dale

Three Sisters in Cape Cod


The eldest Stockton sister in Melissa Ross' funny and emotionally engaging Of Good Stock may have a few qualms about what the title suggests about her gene pool as she approaches her 41st birthday with dark humor about having officially outlived her cancer-stricken mother, just as her own treatments have begun.


Click here for my full review of Of Good Stock.


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Posted on: Wednesday, July 01, 2015 @ 05:27 PM Posted by: Michael Dale

The Drama of Community Theatre


"On stage, ginger ale is champagne," observes the lead character of Douglas Carter Beane's funny and sentimental new comedy, Shows For Days. And while his nostalgic look at the backstabbing and bitchery at a 1973 Reading, Pennsylvania amateur theatre company may not exactly be of an exceptional vintage, there's plenty of fizz; especially if you were once there.


Click here for my full review of Shows For Days.


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Posted on: Tuesday, June 30, 2015 @ 01:07 AM Posted by: Michael Dale

Broadway By The Year


Along with the great entertainment featuring top flight theatre and cabaret performers, Scott Sieget's Broadway By The Year concerts always provide lessons in the artistic developments in Broadway musicals.



In the concert covering 1941-1965 we heard how showtunes matured in that span, with more attention to plot and character. The 1966-1990 edition chronicled the influence of both American and British rock on Broadway. The selections for this past week's concert, covering 1991-2015, made clear the growing number of main stem hits that are containing scores made up of songs not originally written for the theatre and older theatre songs showcased into new musicals.


Click here for my full review of Broadway By The Year.


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Posted on: Tuesday, June 30, 2015 @ 01:07 AM Posted by: Michael Dale

Something Else To Celebrate

On this day in 1928, Louis Armstrong and his Hot Five made this recording of King Oliver's "West End Blues," which is regarded as the recording most responsible for popularizing New Orleans jazz throughout the country.


Two years later, Ethel Merman made her Broadway debut in a supporting role in Girl Crazy and became an immediate sensation singing "I Got Rhythm."  I have no documentation to back this up, but it's my theory that one of the things that contributed to Merman's immediate popularity is that she was giving notes the same kind of inflections with her voice that Armstrong was giving with his horn.


Posted on: Sunday, June 28, 2015 @ 05:25 PM Posted by: Michael Dale

The Tide's Unebbing


How the world can change,
It can change like that,
Due to one little word,


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Posted on: Saturday, June 27, 2015 @ 11:43 AM Posted by: Michael Dale

Minor Surgery


So what's a Tony-winning composer/lyricist/bookwriter to do after recovering from surgery for an arteriovenous malformation on his brain stem? Write a musical about it, of course.


Click here for my full review of A New Brain.


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Posted on: Friday, June 26, 2015 @ 08:53 AM Posted by: Michael Dale

Very Little Chill


The two one-acts that make up the bill Atlantic Theater Company presents as Ghost Stories aren't exactly the kind of fare audiences are accustomed to when they think of David Mamet. Strutting misogynist males and scatological dialogue are set aside here for attempts at spine-tingling atmospheres.


Click here for my full review of Ghost Stories.


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Posted on: Friday, June 26, 2015 @ 08:53 AM Posted by: Michael Dale

Yeah, right...


Some people buy Playboy for the articles and some people go to Broadway Bares for the choreography.


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Posted on: Monday, June 22, 2015 @ 08:48 AM Posted by: Michael Dale

Barely Selling It


If Chris Noth had made a blood pact with the devil he might have opted for a role in the more entertaining scenes of director Andrei Belgrader's lopsided production of Christopher Marlowe's Doctor Faustus.


Click here for my full review of Doctor Faustus.


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Posted on: Monday, June 22, 2015 @ 08:45 AM Posted by: Michael Dale

Wedding Bell Blues


There's a slang term - some celebrate it and others find it offensive - for single straight women whose closest relationships are with openly gay men. If there's a similar term for single openly gay men whose closest relationships are with straight women, it would certainly apply to the central character of Joshua Harmon's sentimental comedy, Significant Other.


Click here for my full review of Significant Other.


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Posted on: Saturday, June 20, 2015 @ 10:58 AM Posted by: Michael Dale

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About Michael: After 20-odd years singing, dancing and acting in dinner theatres, summer stocks and the ever-popular audience participation murder mysteries (try improvising with audiences after they've had two hours of open bar), Michael Dale segued his theatrical ambitions into playwriting. The buildings which once housed the 5 Off-Off Broadway plays he penned have all been destroyed or turned into a Starbucks, but his name remains the answer to the trivia question, "Who wrote the official play of Babe Ruth's 100th Birthday?" He served as Artistic Director for The Play's The Thing Theatre Company, helping to bring free live theatre to underserved communities, and dabbled a bit in stage managing and in directing cabaret shows before answering the call (it was an email, actually) to become's first Chief Theatre Critic. While not attending shows Michael can be seen at Shea Stadium pleading for the Mets to stop imploding. Likes: Strong book musicals and ambitious new works. Dislikes: Unprepared celebrities making their stage acting debuts by starring on Broadway and weak bullpens.