‘CELEBRITY AUTOBIOGRAPHY’: Christopher Jackson, Rita Wilson & Nia Vardalos. Photo by Evan Zimmerman for MurphyMade.

CELEBRITY AUTOBIOGRAPHY
Created by Eugene Pack
Developed & directed by Eugene Pack & Dayle Reyfel
Through August 16, 2026
Shubert Theatre
225 West 44th Street
https://celebrityautobiography.com/

By Scott Harrah

Originally created in 2006, Celebrity Autobiography gained a cult following through recurring engagements at the Triad Theatre Off Broadway after first being developed in Los Angeles, featuring famous actors and show-biz luminaries reading autobiographies, memoirs and poetry by other well-known entertainers. Two decades later, the show has arrived on Broadway with a rotating roster of boldface names. The show’s got a gimmick: Actors read excerpts from celebrity memoirs whose complete sincerity turns them into accidental camp. Since the celebrity lineup changes frequently, audiences should check the website or box office for current casting.

Pulp nonfiction

Bad books, like bad movies, can be unintentionally entertaining. As the late Susan Sontag wrote in Notes on “Camp,” “In naïve, or pure, Camp, the essential element is seriousness, a seriousness that fails.”

As a result, the books selected for the evening offer plenty of examples of the accidental camp Ms. Sontag described, with many of the celebrity memoir excerpts proving far funnier than their authors likely intended.

Celebrities in the readers theater roundup on opening night included morning TV talk-show icon Gayle King; Turner Classic Movies host Ben Mankiewicz; Tony winner Andrea Martin; former “Saturday Night Live” stars Bobby Moynihan and Kenan Thompson; Nia Vardalos of My Big Fat Greek Wedding fame; actresses Rita Wilson and Jackie Hoffman; Hamilton star Christopher Jackson; comedian Mario Cantone; TV actors Scott Adsit and Emmy winner Jeff Hiller; as well as Celebrity Autobiography creators Dayle Reyfel and Eugene Pack.

The cast at the performance this reviewer attended commits fully to the material and earns steady laughs from passages that often seem unintentionally ridiculous. Mr. Pack pops onstage early in the show to explain that the concept of Celebrity Autobiography was inspired by “Wheel of Fortune” star Vanna White’s 1987 memoir Vanna Speaks, in which she devotes an entire chapter to the grueling task of turning letters on the classic TV game show.

‘Reading’ the stars

Actor Scott Adsit opens the evening by reading a chapter from David Hasselhoff’s 2007 memoir Don’t Hassel the Hoff about the arduous demands of starring on Broadway in the musical Jekyll & Hyde for three months. Theater fans may remember the “Baywatch” star’s performance was savaged by critics and find the passages amusing. However, those unfamiliar with Hasselhoff’s infamous attempt at treading the boards on Broadway might not fully appreciate the unwitting humor.

Highlights include reflections on the late Neil Sedaka’s healthy food choices (and digestive issues). Jeff Hiller gets many laughs reading from one of Cher’s books about why she loves M&Ms and finds eating fruit too much work.

From Dolly to Dion

Dayle Reyfel captures the essence of Dolly Parton’s down-home humor by reading a passage from the country superstar’s memoir Dolly: My Life and Other Unfinished Business about how she eats whatever she wants but only in small portions, chewing and savoring all the flavors and then spitting the food out. To many, this may sound like the country icon has a serious eating disorder, but Ms. Reyfel reads it with winning warmth in Ms. Parton’s bubbly Southern accent, making the concept sound lighthearted and guileless instead of disturbing.

Meanwhile, Rita Wilson is hilarious reading, in a thick French-Canadian accent, an absurd excerpt from Celine Dion’s My Story, My Dream about swimming with a manatee in a canal near her Jupiter, Florida home.

‘CELEBRITY AUTOBIOGRAPHY’: Mario Cantone & Bobby Moynihan. Photo: Evan Zimmerman for MurphyMade.

Carol, Liza & Oprah

Elsewhere, Mario Cantone is outrageous as ever, reading from Carol Channing’s memoir Just Lucky, I Guess in the late star’s inimitable gravelly voice. He milks every laugh from Channing’s reflections on Barbra Streisand and a particularly memorable moment in Broadway and Hollywood history. Mr. Cantone also does spot-on impersonations of Liza Minnelli and Arnold Schwarzenegger with manic aplomb.

Jackie Hoffman elicits chuckles by reading Oprah Winfrey’s ludicrous literary ruminations about why she loves chai tea.

Kenan Thompson and Andrea Martin crack up the audience by poking glorious fun at two often-ridiculed celebrities and their books containing passages about the Louvre and the Mona Lisa in Paris. Mr. Thompson reads a vacuous, narcissistic excerpt from Justin Bieber’s First Step 2 Forever while Ms. Martin reads an equally silly passage from Kris Jenner…and All Things Kardashian.

Ben Mankiewicz mines Geraldo Rivera’s memoir Exposing Myself for nonstop laughs as the famed journalist and TV talk-show host brags about his romantic exploits. Nia Vardalos clearly relishes delivering gloriously vapid passages from Khloé Kardashian’s memoir and lifestyle book Strong Looks Better Naked. Christopher Jackson wrings every possible laugh from Type A, Ryan Seacrest’s memoir, including reflections on his love of prosciutto pizza and what he describes as the most erotic experience of his life.

‘CELEBRITY AUTOBIOGRAPHY’: Kenan Thompson & Andrea Martin. Photo: Evan Zimmerman for MurphyMade.

Debbie, Eddie, Liz & Dick

Appropriately, the grand finale revisits one of Hollywood’s most infamous celebrity scandals involving Debbie Reynolds, Eddie Fisher, Elizabeth Taylor and Richard Burton. Ms. Reyfel draws from Debbie Reynolds’ Unsinkable, Mr. Pack tackles Eddie Fisher’s Been There, Done That, while Rita Wilson delivers excerpts from Elizabeth Takes Off and Mr. Adsit takes on selections from The Richard Burton Diaries. Anyone familiar with the tangled relationships and tabloid frenzy surrounding the stars will appreciate how the production milks the melodrama for wild comic effect.

Direction & design

The staging is intentionally simple, with minimal set pieces and understated lighting that preserve the intimate feel of an old-school readers theater while keeping the focus squarely on the performers and the absurdity of the material.

Mr. Pack and Ms. Reyfel wisely keep the presentation simple and the pace brisk, allowing the performers and the absurdity of the source material to remain center stage. Not every selection lands equally well, however, and some of the evening’s celebrity references may resonate more with audiences old enough to remember when these personalities dominated tabloids, TV and bookstore shelves. Younger theatergoers, for instance, may be unfamiliar with books by figures like football legend Joe Namath or the late “Three’s Company” star Suzanne Somers and miss some of the humor that comes from recognizing their public personas.

Breezy summer fare

Ultimately, the cast’s total commitment keeps the evening entertaining even when the references feel dated. Much of the comedy comes not from mocking celebrities but from hearing stars describe ordinary experiences with complete sincerity and outsized importance. In that sense, Celebrity Autobiography succeeds by embracing exactly the kind of accidental camp Susan Sontag described: seriousness that somehow becomes funny.

Celebrity Autobiography is not a perfect show, but it makes for breezy, lighthearted summer entertainment for audiences eager to watch celebrities “read” the stars of the past and present.

Published May 23, 2026
Reviewed on May 18, 2026.

‘CELEBRITY AUTOBIOGRAPHY’: Gayle King and Nia Vardalos (top left); Andrea Martin (top right and bottom left); Jeff Hiller (bottom right). Photos: Evan Zimmerman for MurphyMade.

‘CELEBRITY AUTOBIOGRAPHY’: Gayle King. Photo: Evan Zimmerman for MurphyMade.

‘CELEBRITY AUTOBIOGRAPHY’: (left & right) Kenan Thompson. Photo: Evan Zimmerman for MurphyMade.

‘CELEBRITY AUTOBIOGRAPHY’: Rita Wilson. Photo: Evan Zimmerman for MurphyMade.

‘CELEBRITY AUTOBIOGRAPHY’: Jackie Hoffman. Photo: Evan Zimmerman for MurphyMade.

‘CELEBRITY AUTOBIOGRAPHY’: Scott Adsitt & Rita Wilson. Photo: Evan Zimmerman for MurphyMade.

‘CELEBRITY AUTOBIOGRAPHY’: Dayle Reyfel, Christopher Jackson, Eugene Pack & Jackie Hoffman. Photo: Evan Zimmerman for MurphyMade.

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‘CHARLIE & THE CHOCOLATE FACTORY’: (left to right) John Rubinstein, Ben Crawford, Emma Pfaeffle, Jake Ryan Flynn, Christian Borle, Trista Dollison, Alan H. Green, Jackie Hoffman & Michael Wartella. Photo: Joan Marcus

CHARLIE AND THE CHOCOLATE FACTORY
Based on the novel by Roald Dahl
Book by David Greig
Music by Marc Shaiman
Lyrics by Scott Wittman & Marc Shaiman
Directed by Jack O’Brien
Choreography by Joshua Bergasse
Lunt-Fontanne Theatre
205 W. 46th Street
(877-250-2929), www.charlieonbroadway.com

By Scott Harrah

It’s ironic that a musical best known for the song “Pure Imagination” has been re-conceived for Broadway with so little of it. Director Jack O’Brien, book writer David Greig and composers Scott Wittman and Marc Shaiman have turned what was a flawed but colorful musical in London into a bittersweet curiosity on Broadway. The overall product will likely thrill many, but is mostly cotton candy without the substance or edgy humor of the book and original film on which it is based.

Anyone who saw the 2013 London musical adaptation of Charlie and the Chocolate Factory knows the show’s shortcomings could have been easily “tweaked” for American audiences. There have been four major incarnations of Roald Dahl’s 1964 novel, a whimsical moral fable, from the delightful cult classic 1971 film adaptation with Gene Wilder to the digitally infused, Tim Burton 2005 remake with Johnny Depp, a West End musical adaptation and now this retooled and revamped reboot for Broadway. This “doctored” musical-comedy interpretation of Charlie is the weakest by far of all the adaptations. It lacks the charm of the 1971 movie, and also the sophisticated touches of the West End show.

Of course, there are spectacular production numbers that depict, with high-tech wizardry and Scott Wittman and Mark Shaiman’s effusive songbook, the classic tale of a group of children touring Willy Wonka’s magical chocolate factory.

Charlie closed in January at the Theatre Royal, Drury Lane and was a tourist staple. This reviewer saw Charlie in the United Kingdom two years ago and felt at the time that act one was too long for its own good, but the second act made up for it with songs and scenes depicting the dark, twisted fates of Augustus Gloop (F. Michael Haynie), Veruca Salt (Emma Pfaeffle), Mike Teavee (Michael Wartella) and Violet Beauregard (Trista Dollison).

The big change from London is the opening number, “The Candy Man” (the Leslie Bricusse-Anthony Newley song made famous by Sammy Davis, Jr.), which was in the 1971 film but not in the West End version at all. Instead of beginning at a dump, this Broadway edition opens in a candy store with Charlie (rotated by Jake Ryan Flynn, Ryan Foust and Ryan Sell in certain performances) and a surprisingly lackluster Christian Borle as Willy Wonka. He’s all ham and camp because he’s been given such flimsy material with which to work, and his portrayal of Willy suffers as a result.

Jackie Hoffman (fresh from her acclaimed role as Mamacita on “Feud”) is Mrs. Teavee, a pill-popping 1950s-style cartoonish mom, and she gets plenty of laughs. Ms. Hoffman is also less outrageous, in a good way, than she has been in some of her past Broadway work.

Grandpa Joe (John Rubinstein) is featured prominently here. There are the iconic kids who’ve won golden tickets, from spoiled rich brat Veruca Salt (here she’s a Russian girl) and her number “When Veruca Says” to gum-chewing Violet Beauregard’s “The Queen of Pop” (in this version she’s also an African American hip-hop girl, but the song “Double Bubble Duchess” was more fun in the London edition). TV-obsessed Mike Teavee sings “What Could Possibly Go Wrong?” with his mother and the ensemble.

As with the films, the true excitement doesn’t really start until we visit the Chocolate Factory with Willy Wonka. The British stage version was darker, more literal and more technically vivid, but here things are more colorful and—dare I say it? —cheesier. Of course, there are also the winsomely disturbing Oompa-Loompas (represented by actors in special costumes, a clever touch by puppetry designer Basil Twist).

While the London show had marvelously futuristic sets for the Chocolate Factory scenes, the Broadway sets by video and production designer Jeff Sugg and lighting designer Japhy Weideman lack the “wow” factor of the West End production. The song “Vidiots,” featuring various TV sets, had the gleeful, streamlined futurism of a pop music video or live concert in London, but is not as impressive here.

Charlie and the Chocolate Factory isn’t as cerebral as that other Roald Dahl musical adaptation, Matilda, but it is still fun, particularly seeing the warped ways that Augustus Gloop, Veruca, Violet and Mike face grisly retribution for being annoying, self-centered children. However, director Jack O’Brien and book writer still David Greig have not solved the main problem that plagued the West End version: The awkward first act. What’s shocking is that, with all the changes made, no one could think of a way to make Act One more enjoyable.

The story of Willy Wonka and Charlie is timeless, but this Charlie and the Chocolate Factory adaptation will be disappointing for fans of the film and the Roald Dahl book. It is truly a shame the people behind the show simply did not come up with fresh ideas to make this a more memorable musical.

Edited by David NouNou
Published April 26, 2017
Reviewed at press performance on April 25, 2017

‘CHARLIE & THE CHOCOLATE FACTORY’: (left to right) Kristy Cates, Madeline Doherty, Paul Slade Smith, Emily Padgett, John Rubinstein & Ryan Sell. Photo: Joan Marcus

“CHARLIE & THE CHOCOLATE FACTORY’: Ryan Foust. Photo: Joan Marcus

‘CHARLIE & THE CHOCOLATE FACTORY’: Jake Ryan Flynn & Christian Borle. Photo: Joan Marcus

‘CHARLIE & THE CHOCOLATE FACTORY’: Ryan Sell. Photo: Joan Marcus

‘CHARLIE & THE CHOCOLATE FACTORY’: Christian Borle. Photo: Joan Marcus

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SAILORS’ DELIGHT: (left to right) Jay Armstrong Johnson, Tony Yazbeck & Clyde Alves. Photo: Joan Marcus

ON THE TOWN
Music by Leonard Bernstein
Book & lyrics by Betty Comden & Adolph Green
Based on an idea by Jerome Robbins
Directed by John Rando
Choreography by Joshua Bergasse
Lyric Theatre
213 West 42nd Street
(877-250-2929), www.OnTheTownBroadway.com/

By David NouNou

On The Town is a tribute to a New York of yesteryear. Based on Jerome Robbins’ ballet Fancy Free, about three sailors on a 24-hour shore leave and the adventures they encounter on this one memorable day. To say this is the best revival of the dated musical would not seem much of a compliment, considering the two that preceded it. The 1971 version had Phyllis Newman, Bernadette Peters and Donna McKechnie as the female leads; Claire De Loone, the anthropologist; Hildy, the taxi driver; and Ivy Smith, the dancer, respectively.  The males/sailors were forgettable and negligible.  It was somewhat cute and barely ran three months at the Imperial. Then came the hubristic George C. Wolfe 1998 fiasco with Lea DeLaria as Hildy and Jesse Tyler Ferguson (pre “Modern Family” fame) as Chip, one of the sailors; now that was an odd pairing. It lasted less than a month at the Uris Theatre, now named the Gershwin. I am sure the theater has recovered from that ill-fated bomb since Wicked has landed there.

This version has been magnificently orchestrated and makes the score come alive; it is fresh, vibrant and nostalgic. Musical aficionados will recognize the sharp musical notes that later appeared in Leonard Bernstein’s 1957 masterpiece, West Side Story. The same can be said of Jerome Robbins’ choreography and ballet.  You will be able to recognize his signature moves of the leaping dancers, with their arms in the air and ballet steps that were electrifyingly used in West Side Story. Joshua Bergasse has splendidly captured and recreated Robbins’ movements, none better than in the ballet sequences.

We have the three sailors: Gabey (Tony Yazbeck), the shy dreamer; Ozzie (Clyde Alves) the ladies’ man; and Chip (Jay Armstrong Johnson), the tourist who wants to see all of New York in 24 hours. Let me say all three are charmers with great voices and certainly can dance. Their female interests ultimately will be Ivy Smith/Miss Turnstiles for June and Gabey’s Miss Ideal, the beautiful Megan Fairchild, making her Broadway debut.  Elizabeth Stanley is the anthropologist, Clair, who forgets she has a fiancée and goes ape for her Neanderthal man, Ozzie. Last but not least is Hildy, the man-hungry cab driver (Alysha Umphress), who has found her bait in Chip. The three women are lovely, enchanting and know how to belt a song. My favorite couple has to be Gabey and Ivy; their ballet together is simply sublime.

John Rando, the director, and his team have certainly taken a dated dodo of a musical and remastered it to be enjoyed for its dancing and singing merits by contemporary audiences and overlook its wobbly book. He fine-tuned most of his cast except for one. I must question his taste and sense of humor when it comes to Jackie Hoffman and giving her all that free rein on that stage. Ms. Hoffman, in various roles, doesn’t just chew up the scenery; she inhales the wings as well. She has been doing this “hit and miss” shtick since Xanadu and The Addams Family and lately it’s more of a huge, annoying miss than shtick.

Beowulf Borritt, the scenic and projection designer who was such a sensation earlier this year in anchoring LCT’s Act One, for which he won a Tony for its magnificence and intricacy, here has a set that is just representational. Although he uses names and places of the 1944 era by way of projection designs, the time represented might be 1944 but the projections we see are 2014. For this cavernous theater, the show needed a more grounded set to anchor this show instead of just to represent it. However On the Town is represented, it still shows New York as being “One Helluva Town.”

MISS TURNSTILES: Megan Fairchild (center) & the cast of ‘On the Town.’ Photo: Joan Marcus

LADY CAB DRIVER: (left to right) Jay Armstrong Johnson & Alysha Umphress in ‘On the Town.’ Photo: Joan Marcus

GUY ‘ON THE TOWN’: Tony Yazbeck. Photo: Joan Marcus

THEY’LL TAKE MANHATTAN: The cast of ‘On the Town.’ Photo: Joan Marcus

GIRL MAGNETS: (left to right) Clyde Alves, Tony Yazbeck & Jay Armstrong Johnson & the ladies of ‘On the Town.’ Photo: Joan Marcus

Edited by Scott Harrah
Published October 22, 2014
Reviewed at press performance on October 21, 2014

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