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      ‘Dead Outlaw’ Review: Not Much of a Bandit, but What a Corpse

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      The creators of “The Band’s Visit” return with this mischievous ghost story of a musical based on an odd slice of Old West history.In the final chapter of Elmer McCurdy’s macabre posthumous journey through the American West, his red-painted corpse dangled from a noose inside a Southern California amusement park ride: a creepy bit of décor to spook the thrill seekers.More than six decades after his death, poor old arsenic-preserved McCurdy was presumed to be a mannequin — until, in 1976, the TV series “The Six Million Dollar Man” came to shoot an episode at the ride, and a crew member discovered otherwise.“This is a man!” the freaked-out Teamster shouts in “Dead Outlaw,” a mischievous but never meanspirited ghost story of a musical about McCurdy from the creators of “The Band’s Visit.”Conceived by David Yazbek, who wrote the “Dead Outlaw” music and lyrics with Erik Della Penna, this oddball new show reunites Yazbek with the book writer Itamar Moses and the director David Cromer. Based on a sensationally ghastly scrap of Old West and pop culture history that has inspired books, previous plays and a documentary, it is 180 degrees different from “The Band’s Visit,” the gently comic, Tony Award-winning tale about an Egyptian band stranded in an Israeli town. It’s also terrific fun.“Dead Outlaw,” which opened Sunday in an Audible production at the Minetta Lane Theater in Greenwich Village, is a compact, deliciously deadpan yarn that stretches over almost a century.It traces Elmer’s hapless life as an alcoholic drifter turned bungling criminal, and his involuntary second act as a formidably well-embalmed sideshow attraction. Along the way, it casts a jaundiced eye at the callous American lust for guns and money, and takes puckish pleasure in reminding us that we’ll all be shadows like Elmer soon enough.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: For ‘Jack Tucker,’ Failure Is the Only Option

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      Zach Zucker delivers a raucously funny portrait of a catastrophically dim stand-up comic at SoHo Playhouse.In one of his most quotable lyrics, Bob Dylan sang about a woman who knows “there’s no success like failure/ And that failure’s no success at all.” She clearly never saw the comedy of Jack Tucker.With sweaty insecurity, Tucker steps on his punchlines and clanks the setups. His tech malfunctions. When he sketches the familiar hourglass shape in the air to draw attention to a woman’s figure, he ends up looking like a chicken. His crowd work ends in despair. On the rare occasion when he lands a joke, he celebrates by having a co-worker take a photo, but something always destroys the shot.As played by Zach Zucker, in a raucously funny portrait of a catastrophically dim stand-up comic, Tucker fails in bunches, in quantity and quality, flopping so fast you might miss some errors. Just when you think he can’t stumble again, he does. And it’s a triumph.Not since “The Play That Goes Wrong” have I seen mistakes this meticulous. Zucker, who trained with the French guru Philippe Gaulier, doesn’t just pratfall and malaprop. He finds new ways to get laughs from spilled beer, a series of variations on a splash that lead to a drunkenly fun call back.“Jack Tucker: Comedy’s Standup Hour,” written by Zucker and directed with a firm attention to detail by Jonny Woolley, is the latest solo show to emerge out of the burgeoning scene that features comics like Natalie Palamides, Courtney Pauroso, Alexandra Tatarsky and Bill O’Neill. (O’Neill’s acclaimed Edinburgh Fringe show “The Amazing Banana Brothers” is onstage at SoHo Playhouse tonight and Wednesday.) As the host of Stamptown, a bicoastal showcase for many of these artists, Zucker has been at the center of this movement. It’s a younger generation than the new vaudevillians like Bill Irwin and David Shiner, but this group has the same inventiveness, ambition and dedication to breathing new life into old shtick. But their work is more visceral and topical. (If anyone’s moonlighting at Cirque du Soleil, I’d be surprised.)Clowns and stand-ups tend to operate in different circles, so this show could be seen as a shot from one camp to the other. And in the voice of Tucker, Zucker does float countless hack stand-up premises — some swaggering, others oblivious, like “I guess men and women are different after all.” As satire, this show is toothless. It’s far too stylized to mount a stinging critique, and its one-disaster-after-another structure risks becoming repetitious. But the surprises are in the form, not the content.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Bringing ‘Teeth,’ a Feminist Awakening With a Lethal Bite, to the Stage

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      Michael R. Jackson is helping adapt the darkly comic horror film into a musical. But can a show about a teenager with vagina dentata sing?Michael R. Jackson doesn’t have a vagina. He also doesn’t not have one.“While I’m not a teen evangelical with teeth in my vagina,” he said, “spiritually I am.”Jackson’s spectral self-identity was a guiding light as he and the composer Anna K. Jacobs collaborated on “Teeth,” a new musical based on Mitchell Lichtenstein’s 2007 indie scary movie of the same name. It’s about a high school student named Dawn who discovers to her horror that she has vagina dentata — a myth, found across cultures and eras, about a vagina that has a lethal set of chompers. (The film is streaming on Tubi, and the show is in previews Off Broadway at Playwrights Horizons before a March 12 opening.)If you’re going to musicalize a horror movie, “Teeth” is a doozy, and a gamble. Darkly comic and at times stomach-churningly gory, it’s a touchstone of feminist body horror and an exemplar, along with “I Spit on Your Grave” and “Jennifer’s Body,” of a rape-revenge film that indicts misogyny and body shame for the grip they have on women’s sexual autonomy.Jackson, the show’s lyricist, and, with Jacobs, co-writer of the book, said he was drawn to adapt “Teeth” because of how it frames horror and dark comedy around sex and conservative Christianity — two themes that also raged through his 2022 Broadway musical, “A Strange Loop,” a Tony Award and Pulitzer Prize winner.“I know what it’s like to be afraid of your own body and to feel like somebody’s going to catch you masturbating and what that means, that you’re going to go to hell,” said Jackson, who grew up in the Baptist church. “I immediately glommed onto Dawn because I’ve had that internal experience.”That last line got a laugh from two other members of the “Teeth” creative team who, with Jackson and Jacobs, sat for an interview at Playwrights Horizons in Midtown Manhattan before a recent matinee: the director, Sarah Benson, and the choreographer, Raja Feather Kelly.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Jacqueline Woodson’s ‘The Other Side and ‘Show Way’ Go to BAM

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      A dance performance of “The Other Side” and a musical adaptation of “Show Way” head to the Brooklyn stage for young audiences.Jacqueline Woodson has always seen her books while she writes them, visualizing what the characters look like, how they might speak and move. “I imagine them line by line,” she said during a recent phone interview. “I see the pictures.”A prolific author of books for young people (and in later years, for adults), Woodson has won nearly every award possible for a children’s author: the Coretta Scott King award, a National Book award, many Newbery medals, a MacArthur grant. A few of those books have been staged, filmed or set to music. Since Woodson was named the Kennedy Center’s Education Artist-in-Residence in 2021, more have been adapted. Soon, the Brooklyn Academy of Music will bring two of those Kennedy Center productions, “Show Way the Musical” and “The Other Side,” to its Fishman Space. So now audiences in Brooklyn, where Woodson has long lived, can see these books, too.“Song and dance get inside of you in a different way,” she said approvingly. “Adding the dimension of music and movement to that narration touches us in a much deeper and more radiant way.”“The Other Side,” with choreography by Hope Boykin and a score by Ali Jackson, will have four performances this weekend. “Show Way the Musical,” with music and lyrics by Tyrone L. Robinson, runs March 16-17. Recommended for children 7 and older, each deals with difficult subject matter. “The Other Side,” about a Black girl and a white girl who live on opposite sides of a fence, addresses segregation. “Show Way,” a history of the women in Woodson’s family and the quilt they sewed, touches on enslavement. But both are ultimately hopeful, at times even joyful.“Show Way the Musical,” with music and lyrics by Tyrone L. Robinson, is a history of the women in Woodson’s family and the quilt they sewed.Kyle Schick / Elman StudioAmy Cassello, BAM’s interim artistic director, believes in art as a way to help young viewers understand this history, however fraught. “It sets the scene for learning and openness and understanding,” she said.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: In ‘Brooklyn Laundry,’ There’s No Ordering Off the Menu

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      John Patrick Shanley’s new play, starring Cecily Strong and David Zayas, is a romantic comedy with a penchant for the resolutely dismal.Fran and Owen have been chatting for only a few minutes, not all that companionably, when he asks her out. It’s a risky thing to do, since she’s a customer at the drop-off laundry he owns. To Owen, though, Fran resembles his ex-fiancée: “Smart, one inch from terrific, but gloomy,” he says.So bone-tired of being single that a casual insult from a guy she’s just met isn’t a deal breaker, Fran warily agrees to dinner.“But I don’t get why you want to, really,” she adds. “I’m not your old gloomy girlfriend. I’m somebody else.”Owen counters: “Well, whoever you think I am, I’m somebody else, too.”This is truer than he comprehends. Starring Cecily Strong as Fran and David Zayas as Owen, John Patrick Shanley’s enticingly cast, rather lumpy new play, “Brooklyn Laundry,” can get you thinking about warning labels — those heads-ups that we all ought to come with, so people know what they’re in for when they encounter us.Fran’s warning label would be long and convoluted, Owen’s even more so. Each of them would be surprised if they read their own. They realize that they’re a little bit broken, in need of repair. They just don’t understand quite how.Side note to Fran: While Owen seems potentially quite sweet (gruff adorability is Zayas’s bailiwick), he is way more hidebound and a whole lot more self-pitying than he lets on. Run, maybe?We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘The Ally’ Review: Social Justice as a Maddening Hall of Mirrors

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      Itamar Moses’s play offers eloquent arguments on all sides of the Israeli-Palestinian conflict. But it doesn’t offer much drama.As this is a trial, let’s start with the facts. Asaf Sternheim, who teaches writing at a university a lot like Penn, is asked by a former student, Baron Prince, to endorse a manifesto. The manifesto seeks justice for Baron’s cousin, Deronte, who was killed by police officers while being stopped for a theft he had nothing to do with.Also pertinent: Asaf (Josh Radnor) is a Jew, albeit the kind that subscribes, as he says, to the “acoustic-guitar-based variety” of Judaism. Baron (Elijah Jones) is Black, as was Deronte.And one more thing: The 20-page manifesto, tying violence against Black Americans to violence against all subjugated populations, calls for “sanctions on the apartheid state of Israel,” adding that “failure to do so will leave the United States complicit in the ongoing genocide of the Palestinian people.”You could feel the “uh-oh” in the audience the night I saw “The Ally,” an important, maddening play by Itamar Moses that opened on Tuesday at the Public Theater.Words like “apartheid” and “genocide,” when applied to Israel and Palestinians, are sure to rile lots of people. But challenging the use of those words will equally rile others. Smack in the middle is Asaf, whom the play proceeds to put through a tribal-political wringer that leaves him — and left me — a limp dishrag.Whether you think that’s a good thing for a play to do may depend on your tolerance for endless, furious, yet familiar debate. There’s no question that Moses, whose biography as the Berkeley-raised son of Israeli immigrants is a close match for Asaf’s, knows the territory and its every skirmish intimately. It often seems that the arguments, on all sides, have been transcribed from personal experience or the news.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: ‘Oh, Mary!’ Turns an Unhinged Bit Into Real Theater

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      Cole Escola’s play, which imagines Mary Todd Lincoln as a frustrated cabaret singer, surprisingly pulls off stretching a stupid joke to its extremes.“For God’s sake, Mary!” Abraham Lincoln says to his wife in “Oh, Mary!,” Cole Escola’s unhinged historical fantasia that imagines its protagonist as an alcoholic cabaret singer married to a gay guy. “How would it look for the first lady of the United States to be flitting around a stage right now in the ruins of war!”“How would it look?!” she responds. “Sensational!”It’s a moment reminiscent of Escola’s early YouTube humor, like in the sketch “Bernadette Peters Does Her Taxes.” An accountant exasperatingly asks for a ballpark figure, and Escola’s Bernadette, wiggling like a charmed snake with their hands on their hips, asks, “Is this a ballpark figure?”So stupid. So campy. So unexpected. And yes, like Mrs. Lincoln, even sensational.There’s little else in New York theater right now quite as surprising as “Oh, Mary!” Written by and starring Escola, it’s a bit taken to an 80-minute extreme that’s silly, nasty, tasteless and, in the end, good theater — the kind of show that will leave you gagging, both in the sense that you’ll be losing your mind with joy, and that you might just be grossed out.Escola’s humor is tailored like a Bernadette Peters concert gown to New York gays who were brought up on a diet of alt-cabaret and “Strangers With Candy.” Mary Todd Lincoln would scowl comfortably alongside the Hollywood starlets of Charles Busch and the manic guests of “At Home With Amy Sedaris.”To this lineage Escola adds a sensibility that’s queer and crass; you often get the impression that their ideas start with a wig in search of a story, inspired by tropes from pop culture — mainly, vintage TV and commercials that begin with “I’m a mom.” Out come characters like Donna Germaine, the sweetly hapless real estate agent of “Pee Pee Manor,” and Fifi, the saloon singer of “Our Home Out West,” a parody of 1970s Christmas specials.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: Fiasco Theater’s ‘Pericles,’ the Cruise of a Lifetime

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      If Fiasco Theater has mixed results in its production of this Shakespearean tragicomedy, it celebrates actors supporting and delighting in one another’s work.“Pericles” is a bit of a mess. Spanning decades and traversing the ancient Mediterranean like some deeply misbegotten Carnival Cruise, this Shakespeare play mingles comedy, tragedy and Christian allegory. There are two assassination plots, two shipwrecks, a brothel, a riddle, a tournament and some very convenient pirates. Deliberately anachronistic, it was described by Ben Jonson, a rival playwright, as a “mouldy tale” and “stale.”So, who better to face down this confusion than a company called Fiasco? A devised theater ensemble founded by half a dozen Brown MFA graduates, Fiasco has a soft spot for Shakespeare’s less loved works. The company broke out in 2011 with a production of “Cymbeline” and later staged “The Two Gentlemen of Verona.” (Fiasco’s 2017 production of a crowd-pleaser like “Twelfth Night”? An outlier.)Rather than relying on the published text of “Pericles,” Fiasco has set much of the poetry to music — sometimes supplying original words — and interpolated passages from a prose version by George Wilkins, a pamphleteer and publican. (Wilkins is often cited as the play’s co-author, mostly because scholars disbelieve that Shakespeare could have written anything as patchy as the first two acts.)Ben Steinfeld, a company member and the director, stages this revised text at Classic Stage Company using Fiasco’s poor-theater playbook — a mostly bare stage furnished with charisma, invention, spirit and song. “A miracle may come your way,” an early number promises.Through the hectic first half, this approach falters. Pericles (Paco Tolson at first, then Tatiana Wechsler, Noah Brody and finally Devin E. Haqq) goes to so many places in such a short time that characters and climes blur, especially without the help of scenery to differentiate each country. As Steinfeld’s narrator admits, “Now this is just an empty space/It’s hard to give a sense of place.” (No set designer is credited, though Ashley Rose Horton designed the vaguely Grecian costumes and Mextly Couzin the golden lighting.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More