LEFT ON TENTH is a true story about love, hope, and the wonder of second chances. When she least expects it, Delia Ephron, best-selling novelist and screenwriter of You’ve Got Mail, makes a surprising connection with a man from her past and falls into her own romantic comedy. As their immediate spark blossoms into a love story that seems to defy all odds, Delia’s life takes an unexpected turn.
LEFT ON TENTH tells the messy, beautiful truth about getting older while feeling young, as it celebrates two people with the courage to rewrite their futures and open their hearts again.
There is no doubt as to what the new play “Left on Tenth,” which opened at the James Earl Jones Theatre Wednesday night, wants to be: A romantic, funny and harrowing tale of a woman’s rebirth. Yet, after seeing Delia Ephron’s Broadway show starring Julianna Margulies and Peter Gallagher, different descriptors jump to mind: Sappy, sluggish and awkward.
Margulies’s Ephron is too glossy to believe, as though this production didn’t trust the appeal of its own story. “No one wants to hear about older people getting it on,” Delia says—“Yes, that’s true!” said an elderly woman behind me, loudly and conclusively—so instead of the adorable real people of Ephron’s memoir we get famously attractive actors getting it over with. Aside from them, however, the show is not very pretty. Directed by Susan Stroman, Left in Tenth has the energy and the color scheme of a drugstore greeting card: This is a cheap-looking production, from Beowulf Boritt’s jankily angled set to Jeanette Oi-Suk Yew’s blotchy projections and the least realistic prop drinks you’ll ever see.
2024 | Broadway |
Original Broadway Production Broadway |
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