Leah Greenblatt

Leah Greenblatt is a critic with Entertainment Weekly. This account has been auto-generated, and does not indicate that this person is an active member of Show-Score.com. That said, if you "follow" this member, you will automatically be updated whenever s/he writes a new review.

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Reviews (27)
West Side Story
Midtown W
Entertainment Weekly

Grade: B. "A radically reworked 'West Side Story' comes to Broadway" Full Review

Entertainment Weekly

Grade: B- "A hectic, music-packed 'Tina - The Tina Turner Musical' brings electricity to Broadway, not subtlety" Full Review

Douglas
Gramercy
Entertainment Weekly

B+ “Hannah Gadsby brings her shrewd discomfort comedy to new show ‘Douglas.’” Full Review

Entertainment Weekly

"Both spark off McNally’s crackling dialogue like they’re living the words off the page, breathing new air into his room-bound pas de deux. Ultimately, though, even their supreme handling of the material can’t quite justify shooting for this moon — already explored twice on a New York stage, and also onscreen — one more time." Full Review

Entertainment Weekly

"What makes 'Beg' memorable is the sheer overwhelming talent of the cast. Even if no one character has enough time or space in the script to fill in the contours of a full personality beyond a few fast details they can still bring every sweet harmony and cross-step...It’s hard to feel the real impact of those losses in a show that has to cover so much ground...But it’s also hard to remember a closing as joyful as the one 'Beg' builds to." Full Review

Entertainment Weekly

"While Lee’s vivid snapshot of the Great Depression-era Deep South is its own valuable time capsule, the shifting sands of race and justice in America is well served by at least some new perspective...Even with all its added Sorkinisms, there’s still something firmly classic about 'Mockingbird;' it’s essentially a white-savior story where the savior fails, as nobly as he can... A time-honored tale, skillfully told." Full Review

Entertainment Weekly

“An intriguing story, and three fine, famous actors to play it. But the outcome never feels quite as consequential as it should, possibly because it isn’t actually that ambiguous...The ending comes on with surprising emotional resonance, though the impact of its final moments mostly serves to remind theatergoers that the rest of ‘Lifespan’ could have used another, altruistic kind of fiction: more plot — and true emotional detail — than its bare facts can provide. " Full Review

Entertainment Weekly

"Both a lovingly preserved time capsule and a sometimes stark distillation of what has and hasn’t changed since its debut. His script is still funny and cutting and heartbreaking...Certain facets do feel dated, but to scrub them entirely would also feel like a denial of the truths and the time the play is rooted in. And for all the pop-culture asides and wit, it’s hardly a hollow platform for banter and bitcheries; Mantello takes care to let his characters’ messier humanity come through." Full Review

Travesties
Midtown W
Entertainment Weekly

"A gushing waterfall of wordplay, a fine-tuned literary torrent...Marber keeps Stoppard's verbal ballet moving briskly, occasionally slowing the action down just enough to let the narrative breathe...May be too discursive to ever quite nail down exactly what it's all about, other than everything. Still, one line from early in the first act does seem especially apropos, even if it undersells the frenetic wonders within: 'It may be nonsense, but at least it's clever nonsense.'" Full Review

Entertainment Weekly

"An audacious, highly stylized production that is technically faithful to the text, but flaunts tradition in almost every other respect...If any version can ever be called a definitive 'Hamlet,' this one isn’t really in the running; Gold’s staging is too cheeky, and his tone careens too wildly between farce and tragedy...But there’s a method to his madness, too, and enough eternal magic in the material to make four hours feel fully, smartly spent." Full Review

Entertainment Weekly

“Lampert is necessarily required to carry those numbers (and by extension, the show) on her glittering, chain-mailed shoulders, a thing she does with admirable fervor — even when her voice is more powerful than precise…It’s all impressively brisk and smartly executed, though it’s also never quite clear in the end why this version of Joan is especially crucial, after literally hundreds of interpretations on stage and screen.” Full Review

Entertainment Weekly

"David Oyelowo and Daniel Craig disappear utterly into their roles...With the Bard’s tricky verse mostly intact, it’s a testament to the cast’s efforts and abilities that its original intentions are telegraphed so well through gesture, inflection, and emotion...For all the rich performances and creative risk-taking onstage, it’s Oyelow’s Othello who ultimately holds the anguished heart and soul of the play in his hands...He imbues every line and gesture with timeless, luminous humanity." Full Review

Eclipsed
Midtown W
Entertainment Weekly

"It’s almost impossible to fault its intentions (if not always its execution) as a powerful piece of stagecraft...If the first half can sometimes feel too baggy and broadly-played, and the second almost seems to rush through its most affecting moments, the overall impact is still startling...'Eclipsed' does open a window on a world we rarely get to see this intimately, and they deliver it so gracefully that the play’s flaws feel less consequential than the resonating force of its story." Full Review

Entertainment Weekly

"A little bit of nuance inevitably gets lost when subject matter this dark is set to song; death and deep family schisms, after all, aren’t always fit for jazz hands. But like the book, 'Fun Home' manages to use an oft-unserious medium to deliver something seriously, singularly moving." Full Review

The Inheritance
Midtown W
Entertainment Weekly

Grade: B+ "'The Inheritance' is a funny, tender marathon drama" Full Review

Entertainment Weekly

Grade B+ "'Slave Play' offers provocation, no easy answers in Broadway debut" Full Review

Entertainment Weekly

for a previous production B+ "'Moulin Rouge!' becomes an extravagant, head-spinning Broadway musical." Full Review

Burn This
Midtown W
Entertainment Weekly

“Mayer’s kinetic, consistently engaging production...Pale is a fantastically chewy part...And Driver owns every moment of it...Russell looks gorgeous...But she doesn’t seem entirely comfortable on stage...Driver moves through it all like his own weather system, maybe the most entertaining hurricane onstage this year...It’s too bad that the love story between Anna and Pale never completely convinces us that they are in fact, on fire; it sparks and smolders, but it’s not quite that kind of burn.” Full Review

Fleabag
Soho/Tribeca
Entertainment Weekly

"Waller-Bridges’ portrayal of her grief, and the slow onion peel of her role in her friend’s silly, terrible death, is still affecting here, even if it feels like the first season’s six episodes had much more time to let that narrative arc breathe. All of these nitpicks are moot, of course, if you haven’t seen the TV show...It’s still a brisk, clever, and indisputably engaging evening of theater, performed at a level of intimacy that most Phoebe Waller-Bridge fans can only dream of in 2019." Full Review

Entertainment Weekly

‘Never quite builds to the emotional power of his memorable screen work...But it does have a movie-star cast as well as a low-key, humor-laced melancholy...Lonergan seems more engaged in tracing the fear, resentment, and gallows humor that come with caring for an aging parent, and all the ways people cope with the things they can’t control...'Waverly’ offers something else instead: an indelibly human, quietly heartbreaking study in mortality and familial love.” Full Review

Entertainment Weekly

“The play’s not really the thing in Theresa Rebeck’s bright, lushly executed showpiece. It’s the first half of her slashed equation: Sarah Bernhardt...Von Steulpnagel keeps the action moving with brisk, chamber-piece choreography...The glue in it all is McTeer...She’s a natural force beneath her leonine pile of gold curls - by turns anxious and imperious, vulnerable and funny and fierce. She’s also the best, most vivid thing in nearly every scene.” Full Review

Entertainment Weekly

"The 1923 vintage of Shaw’s play hardly shows its age in Pask’s staging or in the loose, slightly winky direction. But color-blind casting and the occasional 20th-century colloquialism feel mostly like modern window-dressing on a story that’s been marinating in the collective psyche for more than half a millennium. And the drawing-room comedy bits don’t do much to build a real emotional investment in Joan or her cause...It delivers the saint and the symbol." Full Review

Lobby Hero
Midtown W
Entertainment Weekly

"'Lobby‘s' talky quartet are knit together by several loose connective threads that draw tighter as the story unfolds...As thinly written as the role reads on the page, Evans makes him more than a swaggering caricature of white male privilege...The stress points of race and sex and power the script touches on are only glancingly resolved. but 'Lobby' is still a smart, thoughtful piece of work, fairy-dusted by the starry presence of its celebrated cast." Full Review

Amelie
Midtown W
Entertainment Weekly

"The show is a quirky-sweet creampuff that breezily imports much of the original’s off-kilter charm, even as it inevitably loses some of its je ne sais quoi...MacKinnon keeps it all moving along briskly, winnowing down the movie’s sprawl to theater-size and making room for fresh flights of fancy...If any one thing feels lost in the transfer from screen to stage, it’s the pathos that pinned the film’s whimsy to steadier ground." Full Review

Sunset Boulevard
Midtown W
Entertainment Weekly

"Close acknowledges the decades of high camp baked into Desmond’s glittery delusions. But even as she plays them for laughs, she digs for the pathos too. Whether mourning her dead pet chimpanzee, begging her recalcitrant lover not to leave, or drawing out the money notes from Lloyd Weber’s lavish score, she takes care to keep her hands cupped around the tender flame of humanity that still flickers somewhere beneath all the brittle melodrama." Full Review

Entertainment Weekly

"The staging is remarkable considering all its moving parts, and the gifted young ensemble, often cycling at full tilt through multiple roles, earn every ounce of sweat and confetti. But the end result feels a little too much like zero-calorie entertainment (well, not counting the pierogi): brisk and sexy and emotionally weightless. The flow of the story never quite takes hold, and the stakes for these star-crossed lovers feel no more or less crucial then the next musical number tells us it is." Full Review

Hamilton (NYC)
Midtown W
Entertainment Weekly

"Lin-Manuel Miranda has turned a Founding Father’s largely forgotten narrative into one of the most joyful, kinetic, and extravagantly original musicals ever imagined for the stage...The play’s intrigue comes mostly from its potent stew of friendship and romance and outsize ambition; it’s as if 'House of Cards' were folded into a sort of 'Days of Our Colonial Lives' fever dream, then filtered through the minds of Tupac and Sondheim. It’s that strange and that spectacular, and you’d be crazy t... Full Review