• the217
• Stage
• New York's summer theater season should not be missed

Related Media

• See Slideshow (5 images)

New York's theater season began with nothing more than a few limited-run hits, higher ticker prices and a world-wide recession reminding us to ration our non-essential spending. From this grim beginning, came 43 new openings and the biggest grossing season ever.

Even factoring in the higher ticket prices, New York theater watchers were genuinely surprised at the strong finish of the Great White Way in 2008-2009. Here are some of the reasons why, in a recession, considerable discretionary spending went to New York's theatrical establishment.

The desperate pleas for new dramas did not produce a landslide, but some real gems did emerge. Neal LaBute's "reasons to be pretty" (yes, the title is in lower case) was an unfortunate casualty of a post-Tony shutout. But this finely crafted drama of the narrow margin of survival of relationships between men and women gave its audiences finely etched characters and a lot to think about. Illinois State graduate and Steppenwolf co-founder Terry Kinney directed his cast with consummate skill.

"God of Carnage," Yasmina Reza's Tony Award-winning drama, explores the fragile bonds of civil behavior. As seen through Christopher Hampton's exceptional translation and Matthew Warchus' outstanding direction, two couples attempt a rational discussion of a playground incident involving their children. The surface of civility is shattered, creating an evening of cultural anarchy and dysfunctional exchanges. Jeff Daniels, Hope Davis, Marcia Gay Harden and James Gandolfini deliver flawless performances.

New musicals of real quality were hardly legion this season, but a couple of new productions really stand out. Of Tony Award winner "Billy Elliot," this can be said: If you liked the movie, you will love this musical. The film's original director, Stephen Daldry, has teamed up with Lee Hall, who wrote the book and lyrics, and composer Elton John to create a great story and a musical tour-de-force. Peter Darling's choreography adds the final touch of art and energy that makes this musical an instant classic.

"Next to Normal" is a musical treatment of a bipolar woman still dealing with the death of her son. So much for traditional musical comedy! But wait, this seemingly downbeat musical melodrama has interesting characters, a Tony Award-winning score, and a truly compelling story. Tom Kitt's music and Brian Yorkey's book and lyrics provide this surprise hit with the elements of a great musical. Alice Ripley's performance as the troubled housewife is brilliant, and Michael Greif's compelling direction draws you into the lives of these haunted but engrossing characters.

The sleeper of this season, "Irena's Vow," is an unfortunate early closing, but a play worth noting. Playwright Dan Gordon's true story of a Polish Catholic who saved 12 Jews from certain death is somewhat awkwardly episodic. But, Michael Parva's fine direction and Tovah Feldshuh's outstanding performance as Irena, make this story vivid and often riveting. Its closing on June 28 is a real loss.

Every New York season features a generous offering of revivals as directors reexamine established classics. Arthur Laurents, who wrote the original book for "West Side Story," has brought it back to Broadway as its director. This 1957 classic has some new touches. Several songs are sung in Spanish, "America" is a cultural battle only among the women, and he has restaged "Somewhere" and the death scene. While new isn't necessarily better, Laurents' restaging concept is brilliant, superbly acted and sung, and punctuated with high energy. If a few moments are not quite up to Jerome Robbins' long-standing staging, few will complain.

Speaking of high-energy recreations, Diane Paulus' new production of "Hair" redefines high energy. "Hair" has been more of a time capsule curiosity since its sensational debut in 1967. Most know it today through Milos Forman's fine 1979 film version, but this 2009 return to Broadway may well reestablish this as a music-theater classic. This nearly plotless celebration of psychedelic slackers often creaks with 60's cliches, but it never lacks for energy and entertainment. Its infectious energy is simply endless and nearly hypnotic.

Not since its Broadway debut in 1949, has "South Pacific" been revived on the Great White Way. Now, in its second year, this Tony Award-winning revival has proved that the wait was worth it. Bartlett Sher's Tony Award direction breathes new life into this 60-year old musical, and the superb cast executes the fastest three hours on Broadway. Had Mr. Sher directed our Pacific War like this, Japan would have surrendered in 1943.

"Mary Stuart" is a revival of Friedrich Schiller's verse play from 1800. Its translation and adaptation into partial prose by Peter Oswald has produced a trimmer script, but a powerful one. Although still a bit talky in places, this drama of 16th-century religion and politics still resonates. The powerful dilemmas of a Queen in exile (Mary Stuart), who is also a claimant to the throne of her host monarch (Elizabeth I), are splendidly realized by a powerhouse cast under Phyllida Lloyd's direction. Anytime Mary (Janet McTeer) or Elizabeth (Harriet Walter) are on center stage, sparks fly. The show remains til Aug. 16.

On a lighter note, Noël Coward's timeless farce of mischievous spirits, "Blithe Spirit," has returned in a sparkling production under Michael Blakemore's hand. This ensemble delivers the laughs with impeccable timing, and Angela Lansbury's Madame Arcati is simply a hoot and a half. The show runs through July 19.

The best off-Broadway revival is David Cromer's production of Thornton Wilder's "Our Town." There are some interesting touches in this subtly dark interpretation inspired by a 2008 production by Chicago's Hypocrites Theatre. The story unfolds among rows of audience members with the usual minimalist settings in the first two acts. But unlike most productions, the final memory scene of the third act is stunningly realized on a complete set, which further emphasizes the tragedy of the memory.

Revivals bring out the power of the director to reinvent, and this season's revivals are among the most inventive in years. Add to that some fine new dramas and musicals, and New York stages are still a powerful draw.