Full Article Text
Theater: Venice Underwater; A Few
Reasons to Be Happy
VENICE no stars out of ****
REASONS TO BE HAPPY ** out of ****
VENICE no stars out of ****
PUBLIC THEATER
Contrary to popular belief, it's no fun writing a negative review. It's a lot more fun to come
out of a show bristling with excitement over talented performers and behind the scenescreative types whose work you're certain you'll be watching for years to come. Nothing like
that happens at Venice , an incomprehensible mess of a show with a hackneyed plot,
characters that don't maintain a shred of consistency from one scene to the next and
relentlessly bad hip-hop lyrics.
The ringleader is the Clown MC, played by Matt Sax, who you feel sorry for until you
realize he wrote the music and co-wrote the lyrics with director Eric Rosen, who alsowrote the book. Sax struts around the stage like a peacock, flicking his hands this way andthat with dramatic gestures as if he's in on the birth of Rent or In The Heights, despite
delivering lyrics like, "Night blankets the sky/And ghosts roam the streets where theynever quite died/ Meanwhile -- all alone -- /A story unfolds for the very first time/ On theeve of the turning tide/ Let's spy -- and see their history come to life." That's a very typicalsample of the generic lyrics that combine cliches like "turning tide" with nonsensical ideas(ghosts that never died?) and awkward rhymes, all delivered in a bland rap style.
At least Sax seems somewhat comfortable in that genre. Most of the actors on stage are far
less fluid in their rapping and the desire to belt out Broadway style comes over them fromtime to time. It doesn't help that they're trying to deliver bad hip-hop, mind you, amidst astory that makes no sense.
It's sort of Othello crossed with post 9-11 NYC. Venice is a generic city state that has been
in a military lockdown since a terrorist attack 20 years ago. The 1%ers have fled to a safe
zone ever since while the masses live under the boot heel of the military and privatecontractors led by Theodore Westbrook (Jonathan-David). All the main characters are thechildren of iconic figures. Westbrook is the son of the cruel figure of power hated by thepeople. Our hero Venice Monroe (Haaz Sleiman) confusingly has the same name as thecountry; he's the son (a child of rape) of a woman who called the people to resist and fightfor freedom.May 9, 2014
This is the print preview:
Back to normal view »
Posted: 06/14/2013 9:07 am
Both hunky young men are attracted to Willow (Jennifer Damiano), a girl so earnest and
pure you know immediately she'll be martyred before the night is over. She's engaged to
marry Westbrook but has always loved Venice -- both the man and the city; it really is
annoying that you have to parse which one people are referring to throughout the night.
She runs away from the safe zone, reunites with her childhood love and they pledge to get
married.
The sight of the two young people uniting will apparently be enough to overthrow the
military industrial complex once and for all. Enter our Iago, the half-brother of Venice
and General of the military named Markos Monroe (Leslie Odom, Jr.). Markos plots to
undermine one or both men, perhaps angling to make sure he's in favor with whomever
wins or maybe just waiting to seize power himself.
Sax and Rosen struggle and fail to maintain any coherence from scene to scene. Willow
left when she was 7 years old but immediately recognizes the General's wife, god knows
how. Westbrook has been a cruel leader for years and represents everything Willow has
risked her life to destroy once and for all but blandly tells Venice "he's my friend!" Um,
why?
A Beyonce-like pop star named Hailey Daisy (Angela Polk) has slept her way through the
hated military but is also for some reason a beloved figure of the resistance. Daisy knowsthe General has betrayed Venice and when she's captured and brought to Venice, she begsfor protection, saying "He'll kill me." Who, asks Venice. "You know," she says, suddenly allcoy even though she believes Markos will kill her the moment he can. When she spotsMarkos watching her interrogation, she still refuses to say he's a traitor. When she's beingdragged away Daisy still doesn't scream out "It's Markos! It's Markos!" even though she'sgoing to be handed over to him. Why? Who knows. Even the playwrights realized theabsurdity and have her immediately gunned down offstage.
This is one tiny example of the plot's idiocy but the play is filled with them, along with
lyrics of equal absurdity or simply flat banality. Venice's mother sings in a flashback to thebaby Venice: "Markos be decent and generous/ Your brother is ahead of us/ A vision ofthe best of us/ That we can live as one/ Two worlds collide and fill his soul/ With wisdomwe will never know/ Your brother will help your heart grow/ And learn to live as one."
When Willow's not singing "I can see the sunrise/ When I close my eyes," she must
shoulder lyrics like this at a funeral: "I am a desert of unfulfilled memories/ Skeletalpictures of that which will never be/ What it is we dreamed/ Lost in the thoughts of whatnever was/ A child in a storm of madness because/ Death calls unspoken unseen." And soon.
Amidst all this mess, one doesn't want to single out actors for not performing well. The
leads have no spark for each other or the material but how could they? The spurnedJonathan-David as Westbrook actually creates a few genuine moments of drama, in nosmall part due to the fact that he gets the closest to a decent song with a number thatends with the chorus "I want to love and be loved." Unfortunately, that line is reprisedand repeated and beaten into the ground by the end of the show, along with the one aboutseeing the sunrise when you close your eyes.
In limited space, choreographer Chase Brock at times creates a good sense of energy
among the cast, though the Itsy-Bitsy Spider routine with actors sort of twirling theirfingers around while standing still didn't come off. Still, Brock and director Rosen keptthings moving along somewhat. It didn't make any sense but it did chug along at timeswith some sorely needed energy. Uzo Aduba shamelessly over-emotes as the revolutionary
figure Anna, but under the circumstances what else could she do?
REASONS TO BE HAPPY ** out of ****
MCC AT LUCILLE LORTEL THEATRE
Playwright Neil LaBute is clearly entering a new, more humane phase of his career. The
main women in his plays are still vicious ball-busters, but they seem to be aware of thisand are at least a little more nuanced about it.
Said busting of balls begins right away when Steph (Jenna Fischer of The Office) bumps
into her ex Greg (Josh Hamilton) in the parking lot of a grocery store. Furious that he's
dating her best friend, Steph rips into Greg and his mousy, non-confrontational, book-reading ways, even as his ice cream bars melt and he lashes back once thoroughlyprovoked.
For those who caught his play Reasons To Be Pretty (in which Greg and Steph broke up
when he admitted that he didn't think she was pretty), this is a sequel though it certainly
stands on its own. Greg is a substitute teacher of some sort and dating Steph's old friend
Carly (Leslie Bibb), the security guard at a factory he once worked in. Carly is the ex of
Kent (Fred Weller), a dumb jock who considers Greg a friend but still pines for Carly.
Though "pines" is not the right word for a lug like Kent. He has so few friends that Kent
tries to talk to Greg about wanting to still bang Carly, which is a phrase more in keeping
with Kent's lifestyle.
This awkward rondelay is disrupted when Steph tells Greg she wants him back and he
realizes he still kind of wants her too. Is Steph just screwing with Greg to destroy his
romance with her best friend? Is Greg running towards Steph or just running away fromCarly? Will Kent beat him up now or later?
LaBute's plays and films have been notable for having high concepts and often a twist ofsome sort. Watching Reasons To Be Happy can create a false sense of insecurity among
audiences who know his work. You keep waiting for the spin on the plot that never comes.It's like reading an O'Henry short story that doesn't employ a surprise ending.
That's a welcome development but too much of LaBute's waspishness shines through tomake this tale wholly satisfying. First, there's his typical misanthropy. Greg is oftenreading a book (he's a teacher after all) but the other three characters are so aggressivelydumb and disdainful of this that it beggars belief. Steph in particular seems far toointelligent to have never heard of the books he's read or see his reading as some sort ofbizarre quirk. They're not ignorant in any interesting or amusing manner; it feels morelike LaBute's problem than theirs, a setting up of a paper tiger that he can tear down or
just mock. Steph's never heard of Kurt Vonnegut? Fine, but that's neither funny or
interesting.
Secondly, Greg is called out for avoiding confrontation and putting off decisions the entire
play. But when he does it again at the finale in the most dramatic fashion possible, no onecalls him on it and suddenly we're supposed to think the strong-willed Steph might bepining for him after all.
But a bigger problem than the script (which starts off strong in that parking lot scene but
slowly peters out) is perhaps the casting. All four actors are solid onstage but they're all
also a good ten or more years too old for these characters. Steph and Greg and the rest
feel like they're in their late 20s, while all the actors are in their 40s (except for Bibb, who
is 38). When Steph talks about wanting a baby at some point, you shouldn't be thinking
that her biological clock is ticking and time's a wasting. But with this casting, that is
inevitable.
All four actors are appealing and would have been ideal casting...a decade ago. The set by
Neil Patel is notably lacking in imagination, with one office set and a few benches pushed
together or pulled apart to stand in for every other location. Otherwise tech elements are
fine. LaBute directed and he certainly encouraged a rounded, complete performance from
the actors. He just didn't write a script that would allow them to deliver. It's an interesting
but ultimately unsuccessful work that indicates some welcome growth from LaBute that
might pay dividends down the road.
NOTE: In the comments below, a reader wrote in and suggested I was wrong in thinking
that the characters in this play were in their late 20s. As support, they wrote that actressMarin Ireland was in her late 30s when playing Steph in the prequel Reasons To BePretty back in 2009. I pointed out that what's important is the age of the characters, not
the age of the actors playing them. However, Marin Ireland contacted me and said that infact the birth date the commenter provided was wrong and she was in her 20s whenperforming in the play. Finally, in the published edition of the play, Greg and Steph aredescribed as mid-twenties while Kent and Carly are described as late twenties.
THE THEATER OF 2013 (on a four star scale)
The Other Place ** 1/2
Picnic * 1/2
Opus No. 7 ** 1/2
Deceit * 1/2
Life And Times Episodes 1-4 **
Cat On A Hot Tin Roof (w Scarlett Johansson) * 1/2
The Jamme r ***
Blood Play ** 1/2
Manilow On Broadway ** 1/2
Women Of Will ** 1/2
All In The Timing ***
Isaac's Eye ***
Bunnicula: A Rabbit Tale Of Musical Mystery ** 1/2
The Mnemonist Of Dutchess County * 1/2
Much Ado About Nothing ***
Really Really *
Parsifal at the Met *** 1/2
The Madrid * 1/2
The Wild Bride at St. Ann's ** 1/2
Passion at CSC *** 1/2
Carousel at Lincoln Center ***
The Revisionist **
Rodgers & Hammerstein's Cinderella ***
Rock Of Ages * 1/2
Ann ** 1/2
Old Hats ***
The Flick ***
Detroit '67 ** 1/2
Howling Hilda reading * (Mary Testa ***)
Hit The Wall *
Breakfast At Tiffany's * 1/2
The Mound Builders at Signature *
Vanya And Sonia And Masha And Spike *** 1/2
Cirque Du Soleil's Totem ***
The Lying Lesson * 1/2
Hands On A Hardbody *
Kinky Boots **
Matilda The Musical *** 1/2
The Rascals: Once Upon A Dream ***
Motown: The Musical **
La Ruta ** 1/2
The Big Knife *
The Nance ***
The Assembled Parties ** 1/2
Jekyll & Hyde * 1/2
Thoroughly Modern Millie ** 1/2
Macbeth w Alan Cumming *
Orphans ** 1/2
The Testament Of Mary ** 1/2
The Drawer Boy **
The Trip To Bountiful ***
I'll Eat You Last ** 1/2
Pippin *
This Side Of Neverland ***
A Public Reading Of An Unproduced Screenplay About The Death Of Walt Disney ***
Natasha, Pierre And The Great Comet Of 1812 ***
Colin Quinn Unconstitutional ** 1/2
A Family For All Occasions *
The Weir *** 1/2
Disney's The Little Mermaid **
Far From Heaven **
The Caucasian Chalk Circle **
Somewhere Fun **
Venice no stars
Reasons To Be Happy **
Thanks for reading. Michael Giltz is the founder and CEO of BookFilter, a book lover's
best friend. It's a website that lets you browse for books online the way you do in a
physical bookstore, provides comprehensive info on new releases every week in every
category and offers passionate personal recommendations every step of the way. It's like
a fall book preview or holiday gift guide -- but every week in every category. He's alsothe cohost of Showbiz Sandbox , a weekly pop culture podcast that reveals the industry
take on entertainment news of the day and features top journalists and opinion makersas guests. It's available for free on iTunes. Visit Michael Giltz at his website and his daily
blog. Download his podcast of celebrity interviews and his radio show, also called
Popsurfing and also available for free on iTunes. Link to him on Netflix and gain access
to thousands of ratings and reviews.
Note : Michael Giltz is provided with free tickets to shows with the understanding that
he will be writing a review. All productions are in New York City unless otherwise
indicated.
Follow Michael Giltz on Twitter: www.twitter.com/michaelgiltz
Reasons to Be Happy
VENICE no stars out of ****
REASONS TO BE HAPPY ** out of ****
VENICE no stars out of ****
PUBLIC THEATER
Contrary to popular belief, it's no fun writing a negative review. It's a lot more fun to come
out of a show bristling with excitement over talented performers and behind the scenescreative types whose work you're certain you'll be watching for years to come. Nothing like
that happens at Venice , an incomprehensible mess of a show with a hackneyed plot,
characters that don't maintain a shred of consistency from one scene to the next and
relentlessly bad hip-hop lyrics.
The ringleader is the Clown MC, played by Matt Sax, who you feel sorry for until you
realize he wrote the music and co-wrote the lyrics with director Eric Rosen, who alsowrote the book. Sax struts around the stage like a peacock, flicking his hands this way andthat with dramatic gestures as if he's in on the birth of Rent or In The Heights, despite
delivering lyrics like, "Night blankets the sky/And ghosts roam the streets where theynever quite died/ Meanwhile -- all alone -- /A story unfolds for the very first time/ On theeve of the turning tide/ Let's spy -- and see their history come to life." That's a very typicalsample of the generic lyrics that combine cliches like "turning tide" with nonsensical ideas(ghosts that never died?) and awkward rhymes, all delivered in a bland rap style.
At least Sax seems somewhat comfortable in that genre. Most of the actors on stage are far
less fluid in their rapping and the desire to belt out Broadway style comes over them fromtime to time. It doesn't help that they're trying to deliver bad hip-hop, mind you, amidst astory that makes no sense.
It's sort of Othello crossed with post 9-11 NYC. Venice is a generic city state that has been
in a military lockdown since a terrorist attack 20 years ago. The 1%ers have fled to a safe
zone ever since while the masses live under the boot heel of the military and privatecontractors led by Theodore Westbrook (Jonathan-David). All the main characters are thechildren of iconic figures. Westbrook is the son of the cruel figure of power hated by thepeople. Our hero Venice Monroe (Haaz Sleiman) confusingly has the same name as thecountry; he's the son (a child of rape) of a woman who called the people to resist and fightfor freedom.May 9, 2014
This is the print preview:
Back to normal view »
Posted: 06/14/2013 9:07 am
Both hunky young men are attracted to Willow (Jennifer Damiano), a girl so earnest and
pure you know immediately she'll be martyred before the night is over. She's engaged to
marry Westbrook but has always loved Venice -- both the man and the city; it really is
annoying that you have to parse which one people are referring to throughout the night.
She runs away from the safe zone, reunites with her childhood love and they pledge to get
married.
The sight of the two young people uniting will apparently be enough to overthrow the
military industrial complex once and for all. Enter our Iago, the half-brother of Venice
and General of the military named Markos Monroe (Leslie Odom, Jr.). Markos plots to
undermine one or both men, perhaps angling to make sure he's in favor with whomever
wins or maybe just waiting to seize power himself.
Sax and Rosen struggle and fail to maintain any coherence from scene to scene. Willow
left when she was 7 years old but immediately recognizes the General's wife, god knows
how. Westbrook has been a cruel leader for years and represents everything Willow has
risked her life to destroy once and for all but blandly tells Venice "he's my friend!" Um,
why?
A Beyonce-like pop star named Hailey Daisy (Angela Polk) has slept her way through the
hated military but is also for some reason a beloved figure of the resistance. Daisy knowsthe General has betrayed Venice and when she's captured and brought to Venice, she begsfor protection, saying "He'll kill me." Who, asks Venice. "You know," she says, suddenly allcoy even though she believes Markos will kill her the moment he can. When she spotsMarkos watching her interrogation, she still refuses to say he's a traitor. When she's beingdragged away Daisy still doesn't scream out "It's Markos! It's Markos!" even though she'sgoing to be handed over to him. Why? Who knows. Even the playwrights realized theabsurdity and have her immediately gunned down offstage.
This is one tiny example of the plot's idiocy but the play is filled with them, along with
lyrics of equal absurdity or simply flat banality. Venice's mother sings in a flashback to thebaby Venice: "Markos be decent and generous/ Your brother is ahead of us/ A vision ofthe best of us/ That we can live as one/ Two worlds collide and fill his soul/ With wisdomwe will never know/ Your brother will help your heart grow/ And learn to live as one."
When Willow's not singing "I can see the sunrise/ When I close my eyes," she must
shoulder lyrics like this at a funeral: "I am a desert of unfulfilled memories/ Skeletalpictures of that which will never be/ What it is we dreamed/ Lost in the thoughts of whatnever was/ A child in a storm of madness because/ Death calls unspoken unseen." And soon.
Amidst all this mess, one doesn't want to single out actors for not performing well. The
leads have no spark for each other or the material but how could they? The spurnedJonathan-David as Westbrook actually creates a few genuine moments of drama, in nosmall part due to the fact that he gets the closest to a decent song with a number thatends with the chorus "I want to love and be loved." Unfortunately, that line is reprisedand repeated and beaten into the ground by the end of the show, along with the one aboutseeing the sunrise when you close your eyes.
In limited space, choreographer Chase Brock at times creates a good sense of energy
among the cast, though the Itsy-Bitsy Spider routine with actors sort of twirling theirfingers around while standing still didn't come off. Still, Brock and director Rosen keptthings moving along somewhat. It didn't make any sense but it did chug along at timeswith some sorely needed energy. Uzo Aduba shamelessly over-emotes as the revolutionary
figure Anna, but under the circumstances what else could she do?
REASONS TO BE HAPPY ** out of ****
MCC AT LUCILLE LORTEL THEATRE
Playwright Neil LaBute is clearly entering a new, more humane phase of his career. The
main women in his plays are still vicious ball-busters, but they seem to be aware of thisand are at least a little more nuanced about it.
Said busting of balls begins right away when Steph (Jenna Fischer of The Office) bumps
into her ex Greg (Josh Hamilton) in the parking lot of a grocery store. Furious that he's
dating her best friend, Steph rips into Greg and his mousy, non-confrontational, book-reading ways, even as his ice cream bars melt and he lashes back once thoroughlyprovoked.
For those who caught his play Reasons To Be Pretty (in which Greg and Steph broke up
when he admitted that he didn't think she was pretty), this is a sequel though it certainly
stands on its own. Greg is a substitute teacher of some sort and dating Steph's old friend
Carly (Leslie Bibb), the security guard at a factory he once worked in. Carly is the ex of
Kent (Fred Weller), a dumb jock who considers Greg a friend but still pines for Carly.
Though "pines" is not the right word for a lug like Kent. He has so few friends that Kent
tries to talk to Greg about wanting to still bang Carly, which is a phrase more in keeping
with Kent's lifestyle.
This awkward rondelay is disrupted when Steph tells Greg she wants him back and he
realizes he still kind of wants her too. Is Steph just screwing with Greg to destroy his
romance with her best friend? Is Greg running towards Steph or just running away fromCarly? Will Kent beat him up now or later?
LaBute's plays and films have been notable for having high concepts and often a twist ofsome sort. Watching Reasons To Be Happy can create a false sense of insecurity among
audiences who know his work. You keep waiting for the spin on the plot that never comes.It's like reading an O'Henry short story that doesn't employ a surprise ending.
That's a welcome development but too much of LaBute's waspishness shines through tomake this tale wholly satisfying. First, there's his typical misanthropy. Greg is oftenreading a book (he's a teacher after all) but the other three characters are so aggressivelydumb and disdainful of this that it beggars belief. Steph in particular seems far toointelligent to have never heard of the books he's read or see his reading as some sort ofbizarre quirk. They're not ignorant in any interesting or amusing manner; it feels morelike LaBute's problem than theirs, a setting up of a paper tiger that he can tear down or
just mock. Steph's never heard of Kurt Vonnegut? Fine, but that's neither funny or
interesting.
Secondly, Greg is called out for avoiding confrontation and putting off decisions the entire
play. But when he does it again at the finale in the most dramatic fashion possible, no onecalls him on it and suddenly we're supposed to think the strong-willed Steph might bepining for him after all.
But a bigger problem than the script (which starts off strong in that parking lot scene but
slowly peters out) is perhaps the casting. All four actors are solid onstage but they're all
also a good ten or more years too old for these characters. Steph and Greg and the rest
feel like they're in their late 20s, while all the actors are in their 40s (except for Bibb, who
is 38). When Steph talks about wanting a baby at some point, you shouldn't be thinking
that her biological clock is ticking and time's a wasting. But with this casting, that is
inevitable.
All four actors are appealing and would have been ideal casting...a decade ago. The set by
Neil Patel is notably lacking in imagination, with one office set and a few benches pushed
together or pulled apart to stand in for every other location. Otherwise tech elements are
fine. LaBute directed and he certainly encouraged a rounded, complete performance from
the actors. He just didn't write a script that would allow them to deliver. It's an interesting
but ultimately unsuccessful work that indicates some welcome growth from LaBute that
might pay dividends down the road.
NOTE: In the comments below, a reader wrote in and suggested I was wrong in thinking
that the characters in this play were in their late 20s. As support, they wrote that actressMarin Ireland was in her late 30s when playing Steph in the prequel Reasons To BePretty back in 2009. I pointed out that what's important is the age of the characters, not
the age of the actors playing them. However, Marin Ireland contacted me and said that infact the birth date the commenter provided was wrong and she was in her 20s whenperforming in the play. Finally, in the published edition of the play, Greg and Steph aredescribed as mid-twenties while Kent and Carly are described as late twenties.
THE THEATER OF 2013 (on a four star scale)
The Other Place ** 1/2
Picnic * 1/2
Opus No. 7 ** 1/2
Deceit * 1/2
Life And Times Episodes 1-4 **
Cat On A Hot Tin Roof (w Scarlett Johansson) * 1/2
The Jamme r ***
Blood Play ** 1/2
Manilow On Broadway ** 1/2
Women Of Will ** 1/2
All In The Timing ***
Isaac's Eye ***
Bunnicula: A Rabbit Tale Of Musical Mystery ** 1/2
The Mnemonist Of Dutchess County * 1/2
Much Ado About Nothing ***
Really Really *
Parsifal at the Met *** 1/2
The Madrid * 1/2
The Wild Bride at St. Ann's ** 1/2
Passion at CSC *** 1/2
Carousel at Lincoln Center ***
The Revisionist **
Rodgers & Hammerstein's Cinderella ***
Rock Of Ages * 1/2
Ann ** 1/2
Old Hats ***
The Flick ***
Detroit '67 ** 1/2
Howling Hilda reading * (Mary Testa ***)
Hit The Wall *
Breakfast At Tiffany's * 1/2
The Mound Builders at Signature *
Vanya And Sonia And Masha And Spike *** 1/2
Cirque Du Soleil's Totem ***
The Lying Lesson * 1/2
Hands On A Hardbody *
Kinky Boots **
Matilda The Musical *** 1/2
The Rascals: Once Upon A Dream ***
Motown: The Musical **
La Ruta ** 1/2
The Big Knife *
The Nance ***
The Assembled Parties ** 1/2
Jekyll & Hyde * 1/2
Thoroughly Modern Millie ** 1/2
Macbeth w Alan Cumming *
Orphans ** 1/2
The Testament Of Mary ** 1/2
The Drawer Boy **
The Trip To Bountiful ***
I'll Eat You Last ** 1/2
Pippin *
This Side Of Neverland ***
A Public Reading Of An Unproduced Screenplay About The Death Of Walt Disney ***
Natasha, Pierre And The Great Comet Of 1812 ***
Colin Quinn Unconstitutional ** 1/2
A Family For All Occasions *
The Weir *** 1/2
Disney's The Little Mermaid **
Far From Heaven **
The Caucasian Chalk Circle **
Somewhere Fun **
Venice no stars
Reasons To Be Happy **
Thanks for reading. Michael Giltz is the founder and CEO of BookFilter, a book lover's
best friend. It's a website that lets you browse for books online the way you do in a
physical bookstore, provides comprehensive info on new releases every week in every
category and offers passionate personal recommendations every step of the way. It's like
a fall book preview or holiday gift guide -- but every week in every category. He's alsothe cohost of Showbiz Sandbox , a weekly pop culture podcast that reveals the industry
take on entertainment news of the day and features top journalists and opinion makersas guests. It's available for free on iTunes. Visit Michael Giltz at his website and his daily
blog. Download his podcast of celebrity interviews and his radio show, also called
Popsurfing and also available for free on iTunes. Link to him on Netflix and gain access
to thousands of ratings and reviews.
Note : Michael Giltz is provided with free tickets to shows with the understanding that
he will be writing a review. All productions are in New York City unless otherwise
indicated.
Follow Michael Giltz on Twitter: www.twitter.com/michaelgiltz