Marilyn Stasio

Marilyn Stasio is a critic with Variety. 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 (290)
Variety

"This hit London musical about Tina Turner takes Broadway by storm." Full Review

Variety

"Mary-Louise Parker and Will Hochman's Pas De Deux on the Edge in 'The Sound Inside': A fantastic new play marks the Broadway debut of playwright Adam Rapp." Full Review

The Wrong Man
Midtown W
Variety

"Credit songwriter Ross Golan for the seamless quality of 'The Wrong Man,' his mesmerizing musical about a good man who deserves a good life but seems to attract nothing but bad luck." Full Review

The Great Society
Upper W Side
Variety

"‘The Great Society’ Starring Brian Cox: Cox plays President Lyndon B. Johnson in Robert Schenkkan’s political drama about the passing of the Civil Rights Act of 1964." Full Review

Betrayal
Midtown W
Variety

"The impeccable London revival of Harold Pinter’s “Betrayal,” with Hiddleston, Charlie Cox, and Zawe Ashton, transfers to Broadway." Full Review

Variety

"Jonathan Cake takes on the unforgiving title role in Shakespeare’s rarely seen 'Coriolanus' -- and runs with it to a glorious finish." Full Review

Variety

"Despite looking as if it emerged from rehearsal games, Halley Feiffer’s farcical adaptation of Chekhov’s 'Three Sisters' is clever -- and fun." Full Review

Long Lost
Midtown W
Variety

“Both siblings excel at this tame game of fraternal warfare...The problem is, Margulies gives us little context for this edgy interplay between brothers...The characters are well-drawn and well-spoken. But because there’s nothing seriously at stake here, their quarrel shapes up as being largely about language itself. How to make words hurt. How to slap someone in the face with a slur...Margulies has a great ear, but lacking credible context, language is only pretty talk.” Full Review

Tootsie (NYC)
Midtown W
Variety

“The new Broadway adaptation of ‘Tootsie’ is old-fashioned and proud of it — and it’s a surefire crowd-pleaser...The story holds no surprises for anyone who’s seen the movie, but Horn sprinkles the show’s book with clever one-liners...Well-cast character actors demonstrate their bankable skills at character acting...Each of the songs in the stage musical can make you choke with laughter.” Full Review

Variety

"If anyone could play Hillary Clinton, it’s Laurie Metcalf – and here she is giving a performance that feels painfully honest and true...The only thing wrong in this fictionalized visit to the 2008 primary is that playwright Hnath has brought nothing of substance to the table...Besides pulling off terrific political pep talks, Hnath also gets the intimate cadences of a close couple’s domestic rhythms, and lets Metcalf and Lithgow have their fun. But what about us? Where’s our fun?" Full Review

Variety

"The audience is just a pounding heartbeat away...The wonder of this production is that so much of the joy and optimism of the original work still shines bright through the darkness...Fish exposes those sexual passions that are kept firmly repressed in traditional productions...The only failure with this let-it-all-hang-out directorial style is the Dream Ballet, which is supposed to hint delicately of the lovers’ yearnings but is here allowed to go on ad nauseam." Full Review

Variety

"The engaging writer-performer is all smiles and so are we...But by the end of the show, we’ve been stirred — and challenged — by her penetrating insights into that document...Although she never drops her unthreatening demeanor of all-American niceness, Schreck takes a more acerbic tone as she works up to her true subject...To her credit, Schreck doesn’t let righteous anger curdle into polemics. On the contrary, she closes with an uplifting message." Full Review

Nantucket Sleigh Ride
Upper W Side
Variety

"Despite a smart production director by Jerry Zaks and played to the professional hilt here by a company of game actors, the point of this absurdist farce is maddeningly elusive...Larroquette has perfected a droll, deadpan delivery that suits Guare’s under-the-radar brand of humor...But by the time Guare gets to the giant lobster (don’t ask) he seems to have run out of imagination — or the inclination to round up his disjointed memories and wrestle them into a coherent plot." Full Review

Daddy
Midtown W
Variety

"Alan Cumming is flawlessly creepy...Welcome to the self-love fantasy of rising playwright Harris, who has scripted a three-hour homage to his own artistry...Give the writer his due, the dialogue is, like, dope...Harris is smart and his direction is clever, but obsessive love — a writer’s own self-love, as much as a mother’s and a lover’s — is not a pretty sight, and eventually becomes a full-blown bore." Full Review

Variety

“Nottage switches styles from screwball comedy to backstage realism, and director Kamilah Forbes effortlessly keeps in step. The comedy is still plenty tasty, but the style is much more cutting...The second act...retains its jarring shift in style...This switch to satire bears out Nottage’s cutting point...But these one-dimensional parodies are too mean and obvious to offer either intellectual enlightenment or belly laughs." Full Review

Variety

"This funny, violent play is one of Sam Shepard’s best works, a fierce summation of some of his undying themes...If there’s one thing a production of 'True West' must have, it’s that haunting sense of the two brothers being one person at war with himself. That’s exactly what director James Macdonald’s new Broadway production doesn’t have...More critically, there’s no real sense of danger when the brothers finally trash the kitchen and go for each other’s throats." Full Review

Variety

"The ever-likable Daniels, whose casting was genius, gives a strong and searching performance as Atticus Finch...The rest of the large and very fine cast perform their parts with all their hearts, under Sher’s impeccably fine-tuned direction...More faithful than not to its source...The designers have done a beautiful job of conjuring that era without smothering the narrative...This play belongs to Atticus Finch. He holds the stage and he wins our love." Full Review

Variety

"Sitting in the literal dark with the unpredictable narrator of Eno’s intellectually dizzying drama is still a dangerous thrill...Hall’s deadly deadpan is deeply funny, in an unnerving way...Hall tries his level best to be true to this self-absorbed character; but he just can’t help himself. He’s a fine actor, but a personable one, much too likable to pull off the character’s blinding, self-regarding narcissism." Full Review

Torch Song (NYC)
Midtown W
Variety

“An affectionate if ill-considered revival…As imperfectly directed here by Moises Kaufman, Urie has made little attempt to make the role of Arnold his own…The trimmed-down show has kept its basic storyline but lost some of its grace notes…Arnold’s story is as sweet as ever…Does this history piece hold up? Yes, in the sense that the show is kind to its characters and true to its dated sensibilities. No, in the sense that the characters are unbelievably sweet and its sensibilities are dated.” Full Review

The Ferryman (NYC)
Midtown W
Variety

"Glorious is not too strong a word for director Sam Mendes’s production...Flawless ensemble work by a large and splendid cast adds depth to the characters in this sprawling drama that is at once a domestic calamity and a political tragedy...The domestic dramas in this household are as primal as those in any Greek tragedy, if not as classically restrained...We can only watch in horror and dread as the extraordinary characters that Butterworth has brought to life are snuffed out." Full Review

Variety

"Some of Dylan’s songs are a poor fit for this highly specific setting...But that doesn’t invalidate McPherson’s insight that Dylan’s narrative lyrics express a sense of existential detachment, of longing for connection that reflect the uncertainties of 1930s America...Better to sit back and just enjoy the music — and credit McPherson with giving each song the gift of clarity. If not always apropos to their dramatic moments, the lyrics are clearly intelligible." Full Review

The True
Midtown W
Variety

"In his laser-focused view, White shows us exactly how machine politics works without taking a moral position on the patronage system on which it’s based. His only false step is the character of Bill McCormick, a bland young man...Anyone who has ever been involved in a political campaign should find this play enthralling. Everyone else in the room can marvel at the ferocity of Falco’s performance and the passion of her character." Full Review

Variety

"An over-written, over-designed, and generally overdone production...Thanks, no doubt, to the Oracle of Delphi (played here by the impishly funny Peppermint), it’s a miracle that at least some of the wit in Jeff Whitty’s original book gets through...The show never recovers from the pervasive feeling of exhaustion. There’s the exertion of making the stilted Spencer Liff choreography seem vaguely vogue. There’s the constant struggle to push and shove songs into places where they don’t fit." Full Review

Variety

"In 'Straight White Men,' Young Jean Lee’s cutting but deeply humane satire about straight white male privilege and pain, Armie Hammer, Josh Charles and, in an especially heart-wrenching performance, Paul Schneider play three brothers with mid-life issues. In director Anna D. Shapiro’s super-smart production...The re-written version of the play seems to have extended and pumped up the fun and games from the original version." Full Review

Log Cabin
Midtown W
Variety

“There’s potential drama — and comedy — in this situation, if Harrison had the heart for it. Unfortunately, he’d rather just talk about it. There comes a point, roughly midway through the play, when the principals are so talked out on the subject that two of them go against character by having a quickie in the nursery…Conversation, of which there is much, is clever enough, but mostly shallow...Harrison has taken it upon himself to explain it all, at length and ad nauseam.” Full Review

Bella Bella
Midtown W
Variety

"Fierstein wrote this homage to legendary New York politician Bella Abzug -- and plays her, too." Full Review

The Rose Tattoo
Midtown W
Variety

"Despite a huge cast of characters, this is a very slender play — more a mood piece, really — and far from the playwright’s best. Without any solid scene setting, the minimalist production provides little environmental support." Full Review

Variety

"Jeremy O. Harris’ gleefully shocking comedy about race and sex transfers to Broadway." Full Review

Variety

"Jonathan Pryce and Eileen Atkins play an elderly husband and wife, one of whom might be dead." Full Review

Variety

"The writing in these separate monologues is excellent, as are the solo performances, but this is no show to see on a first date." Full Review

Variety

"The luscious 2001 movie hit makes it successfully to the stage — elephant and all — in this gorgeously flashy version." Full Review

Variety

“Leon delivers the fun in a slaphappy, dance-crazy version of Shakespeare’s most likable, if thematically troubling, romantic comedy...The entire cast does exceptionally well by the Shakespearean language...Only the comic relief players, go too far, overdoing their buffoonish characters and leaning too heavily on the double entendres...Under the magical spell of theater in the park, no one could raise serious objections to the occasional license taken with the play." Full Review

Variety

"A sentimental reading would mean death for this surprisingly delicate two-hander...But helmer Arin Arbus and her high-toned cast of two – Michael Shannon, who can do anything, and Audra McDonald, who can do anything while looking gorgeous – bring this historical artifact to warm-blooded life...There’s always the danger that the story might seem shallow because nothing more than a love story is at stake. Nothing more, perhaps, than a love story, but my, how those lovers can love." Full Review

Variety

"The political satire is pretty much spelled out...But this is low comedy, so expect plenty of fart jokes and penis wagging and doubles entendre interlaced with the sweet humanity and higher-toned political satire...There’s no shortage of art and craft in this offbeat show; but there’s also a limit to how much goofiness a comedy can support, and Mac may have gone over his limit. The jokes start to feel lame and the crude burlesque routines seem a bit cruel." Full Review

Variety

"With its earthly delights more or less intact, this perfectly heavenly musical should stick around for a while....Although the production has lost some of the electricity that goes with playing in the round, Chavkin...has done a super job of adapting this pretty thing for a proscenium stage...The world on top looks a bit like New Orleans...But the real action happens in hell, depicted here by the entire company in a rousing number, 'Way Down Hadestown,' that could make the dead dance.” Full Review

Variety

"Although Jackson fails to wring tears, let alone blood, from this production, the sheer intelligence of her performance makes it memorable...The supporting performances are all over the place, and the fidelity to fashionable race/gender/age-blind casting sometimes requires work to figure out who’s who...The bland staging has no discernible unity or vision, and actors rarely connect. In the end, you’re really here for Glenda Jackson...Wouldn’t have missed it for the world." Full Review

White Noise
East Village
Variety

"Opens with a burst of brainy energy that lasts through the first act. But it takes a nosedive in the sloppy second half, confounding the assured direction of Oskar Eustis and the best efforts of a small, ace cast headed by the magnetic Diggs...Director Eustis has created a warm environment that allows the romantic affairs, close relationships and casual couplings to feel natural and unforced...Although well-played by the likable actresses, the female characters are hardly developed at all." Full Review

The Mother
Chelsea
Variety

"’The Mother’ is undone not so much by her losses as by the accumulation of knowledge and flashes of insight that she acquires — into her husband’s betrayals, her son’s withdrawal and into her own unraveling mind...This turns out to be an upsetting play rather than an engaging one, and if it weren’t for Huppert’s mesmerizing performance, it might send you out of the theater and screaming into the night.” Full Review

Superhero
Midtown W
Variety

"Kate Baldwin is the true hero here. As Simon’s mother Charlotte, she does a heroic job of making a pedestrian character seem like a loving, hurting human being...One predictable moment after another. Superheroes are all very well and good, but it’s those nerds on the ground — the ones who write the words and the music — who do all the hard work for them." Full Review

Sea Wall/A Life
East Village
Variety

"The writing in these separate monologues is excellent, as are the solo performances by Tom Sturridge and Jake Gyllenhaal. But this is no show to see on a first date...There’s pleasure to be had at the sound of pretty prose, and it’s a joy to watch two fine actors perform in flawless character. But it might take a couple of stiff drinks to get the ashen taste of death out of your mouth." Full Review

Variety

“Sweetly exuberant...The play transfers nicely, under the surefooted direction of Trip Cullman...The new venue also gives the show’s sensational young lead, Jeremy Pope, more room to spread his wings and soar...Pharus is a strange and wonderful character with the courage to be his own exceptional self...The music is joyous...The songs follow an arc from familiar hymns sung in strict choral harmony to less formal, but meaningful solos. Everyone gets his moment." Full Review

Network (NYC)
Midtown W
Variety

"Chayefsky’s diatribe, which played as satire almost a half-century ago, takes on fresh fury in a sizzling stage production, directed by Ivo Van Hove, that feels less satiric but more urgent — and frightening — in today’s times...The depth of Chayefsky’s cynicism is so breathtaking, so full of existential despair that it makes today’s critical pundits look like weepy whiners. Although Cranston never pushes Beale over the edge into madness, he brilliantly nudges him to the outer limits of ang... Full Review

Variety

"Director Kenny Leon has assembled a solid creative workforce...It’s hard to take your eyes off Washington’s Kendra, whose anguish seems to have taken over her entire body...Playwright Demos-Brown is a clever phrase-maker, and he delights in using language that vividly illustrates the social and educational gulf between Larkin and Kendra...A play that’s probably a bit too small for Broadway and a bit too narrow to throw a long shadow, but still manages to get under your skin." Full Review

Variety

"So the poignancy is a bit heavy-handed, even under the thoughtful direction of Lila Neugebauer. But the sentiments are genuine and the emotions they raise are potent...This is a hard play to watch - like a play that opens with a deathly ill person and doggedly follows that person to the grave. In fact, if they gave a prize for Most Depressing Play of the Season, this one would win...To be fair, there are moments of relief...A play that’s guaranteed to tear you apart." Full Review

Variety

“Radcliffe proves to be a master of comedy in ‘The Lifespan of a Fact’... If we were living through a different moment in time, the writer’s fabricated but emotionally wrenching 'truth' would easily outweigh the fact-checker’s chilly reality of events. But with the leader of our nation stomping on truth as we know it, and the very essence of reality imperiled by political fact-stretchers, the debate at the heart of this play transcends comedy and demands serious attention." Full Review

Variety

“The sublime McTeer plays the divine Sarah Bernhardt, who plays the immortal Hamlet...This is all interesting, even provocative, but what’s missing is some reasonable dramatic conflict...Under Von Stuelpnagel’s tightly choreographed direction, this solid cast of characters encircle Bernhardt like planets following their star. And blazing stars they certainly are, both McTeer and Bernhardt, yoked in a dynamic character study that, for all its shining moments, is no play.” Full Review

Variety

"Although simplistic by design, the script is funny without being hilarious, grooving along mainly on its many goofy throwaway lines...Nunes delivers a cool performance and a killer musical turn, and runs away with the show...Cheap laughs? You bet, but even cheap laughs count; and let’s admit it—it feels so good to laugh real laughs on Broadway." Full Review

Variety

“Lyrics from a song in the new musical ‘This Ain’t No Disco’...will make us yearn for the golden age of disco...This new musical is just as dumb as that dopey lyric...The costumes are imitative, the performances are caricatures, and the choreography is awful...All energy and no style...The repetitive music doesn’t lean into the changing trends, while the choreography just re-works the same old steps for tired feet...’This ain’t no disco’, to be sure.” Full Review

Mary Page Marlowe
Midtown W
Variety

"Director Lila Neugebauer, who brilliantly grasped the big theatrical gestures in 'The Wolves' at Lincoln Center, is just as scrupulous about defining small but definitive moments...The episodic structure is as integral to the play as its content. It’s up to us to fill in the blanks, because this is how life is lived, in little fits and starts that we later recall and either re-live in our minds or decide to forget." Full Review

Variety

"Regrettably, once he makes a big business of bringing the two lovers together, the playwright has little else to say about slavery, the South or the war...Knowing that the love story of Henry and James is part of a grand dramaturgical design gives it more weight. But experienced on its own, the romance speaks its name but moves on without leaving any echoes from its moment in history." Full Review