‘THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE’: Kevin McHale (center) & cast. Photo: Joan Marcus.

THE 25^TH ANNUAL PUTNAM COUNTY SPELLING BEE
Music & lyrics by William Finn
Book by Rachel Sheinkin
Conceived by Rebecca Feldman
Music supervision & vocal arrangements by Carmel Dean
Originally directed on Broadway by James Lapine
Directed & choreographed by Danny Mefford
Through September 6, 2026
New World Stages
340 West 50^th Street
https://spellingbeenyc.com/

By Scott Harrah

Two decades after it first appeared on Broadway, The 25th Annual Putnam County Spelling Bee is back. This Off‑Broadway revival feels both nostalgic and fresh. Spelling Bee was originally nominated for six Tony Awards and winner of two, including Best Book of a Musical for Rachel Sheinkin and Best Featured Actor in a Musical for Dan Fogler. The show also helped launch the careers of Jesse Tyler Ferguson and Josh Gad. Now, with an updated script and a marvelous cast, this beloved show proves why it has remained such an enduring hit.

The story of Spelling Bee

At its core, Spelling Bee is a musical comedy about six offbeat middle-school students competing in a regional spelling bee. Set inside a school gymnasium, the competition is a forum for the kids to show off their spelling skills and vent about their personal insecurities, hope and dreams. They share the stage with Vice Principal Douglas Panch (Jason Kravits), the weary “pronouncer” of the competition. Other characters include moderator and former champion Rona Lisa Peretti (Lilli Cooper); and overprotective parents who hover on the sidelines.

The competitors

Meanwhile, the characters and their many quirks quickly overshadow the actual spelling. Each contestant delivers a humorous monologue before attempting a word.

For example, there’s Olive Ostrovsky (Jasmine Amy Rogers), a nervous speller who’s upset because her mother is in India at an ashram, her father is running late to the event and she doesn’t have the $25 entrance fee.

William Barfée (Kevin McHale) is a cocky guy with many physical ailments who uses his “magic foot” technique to help him spell out words.

Logainne Schwartzandgrubenierre (Autumn Best) is a spunky speller with a lisp who cannot spell a word without her two fathers standing by her on the podium to encourage her.

The remaining contestants include Chip Tolentino (Phillipe Arroyo), a former champion and Boy Scout facing the awkward (and sometimes funny) realities of puberty; Leaf Coneybear (Justin Cooley), an unfocused speller with ADHD; and Marcy Park (Leana Rae Concepcion), a hyper‑accomplished overachiever who speaks six languages, practices karate, and sleeps just three hours a night.

Adding to the fun, several audience volunteers are selected at random to compete alongside the actors, creating spontaneous moments each night.

Winning ensemble cast

Spelling Bee relies on a cohesive company of the six spelling contestants. All of the six actors form a winning ensemble, thanks to tight direction and choreography by Danny Mefford.

First, Jasmine Amy Rogers is an emotional powerhouse as Olive, the anxious girl who is devastated that her parents are not attending the competition. Her delivery and timing are top notch. Her vocals in the solo numbers “My Friend, the Dictionary” and “The I Love You Song” are heartwarming highlights.

Next, Kevin McHale (of “Glee” fame) is perfect as William, the overzealous nerd. Mr. McHale is superb singing his solo “Magic Foot” and sometimes steals the show with his many outbursts and nervous tics.

Additionally, Justin Cooley’s quirky, trance‑like Leaf is consistently hilarious, while Phillipe Arroyo earns big laughs as Chip in “My Unfortunate Erection (Chip’s Lament).”

In addition, two of the other young actresses in the show are also crowd pleasers. Leana Rae Concepcion is hysterical as Marcy, the annoying overachiever, and she sings “I Speak Six Languages” with conviction. Autumn Best is charming as Logainne, the know-it-all girl with a speech impediment and a problem with low blood sugar.

Among the adults, Lilli Cooper shines as the spunky, high-spirited Rona. Jason Kravits brings charm and perfectly calibrated frustration to Vice Principal Douglas Panch.

A Spelling Bee for the 2020s

Although much of the original 2005 show remains intact, the script includes contemporary updates. For instance, Logainne references “hot” mayor‑elect Zohran Mamdani. Also, the epilogue humorously notes her later role in “President AOC’s administration.” Together, these touches keep the show grounded in present-day America without sacrificing its timeless appeal.

Ultimately, The 25th Annual Putnam County Spelling Bee celebrates underdogs navigating competition, identity, and the pressure to succeed—all themes as resonant now as they were two decades ago. This joyous revival is sure to be a big h‑i‑t.

Published November 17, 2025
Reviewed at press performance on November 14, 2025

‘THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE’: (left to right from top) Philippe Arroyo & Leana Rae Concepcion; (left to right from bottom) Autumn Best & Justin Cooley. Photos: Joan Marcus.

‘THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE’: The cast. Photo: Joan Marcus.

‘THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE’: Jason Kravits & Lilli Cooper. Photo: Joan Marcus.

‘THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE’: Matt Manuel, Autumn Best & Justin Cooley. Photo: Joan Marcus.

‘THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE’: Matt Manuel & Philippe Arroyo. Photo: Joan Marcus.

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‘RICHARD II’: (left to right) Emily Swallow, David Mattar Merten, Grantham Coleman, Michael Urie & Lux Pascal. Photo: Carol Rosegg.

RICHARD II
By William Shakespeare
Directed & adapted by Craig Baldwin
Through December 21, 2025
Red Bull Theater
at Astor Place Theatre
434 Lafayette St.
https://www.redbulltheater.com

By Scott Harrah

Shakespeare’s classics are often revived in some newfangled form on the American stage. For instance, from the late Glenda Jackson playing the titular role in a misguided, gender-bending King Lear in 2019 to an equally ill-conceived one-man Macbeth starring Alan Cumming on Broadway in 2013, the Bard’s works are frequently updated to attract new audiences. However, director Craig Baldwin’s Off-Broadway iteration of Richard II introduces two refreshing twists: the setting shifts from the 1300s to 1980s Britain, and King Richard becomes a flamboyant gay man, portrayed by the always-outstanding Michael Urie.

This reviewer is rarely a fan of “modernized” Shakespeare because classics work best when performed as written. Otherwise, the richness of Shakespeare’s language and narrative can get lost amid flashy gimmickry. Even so, two modernized adaptations have succeeded in the past 15 years: the 2010 Broadway revival of The Merchant of Venice, starring Al Pacino as Shylock, and now Mr. Baldwin’s Richard II. While Mr. Pacino brought dignity to Shylock, Mr. Urie brings his trademark comic timing and sharp wit to Shakespeare’s egotistical, self-destructive monarch.

Richard the Rebel

This is a stylish reimagining of Richard II, with an ‘80s-inspired set by Arnulfo Maldonado. Mr. Urie plays the doomed monarch whose inflated ego leads to his downfall. When Richard seizes the inheritance of his cousin, Henry Bolingbroke (Grantham Coleman), he ignites a chain of betrayal and rebellion that forces him to confront his own loss of power and identity.

1980s decadence & excess

Mr. Maldonado’s design reimagines the royal court as a sleek 1980s Manhattan boardroom, complete with sharp suits, minimalist décor, and an interviewer (Sarin Monae West) who channels Grace Jones. Meanwhile, snippets of Eurythmics’ “Sweet Dreams” and other new-wave hits reinforce the era’s excess and vanity. The result is a clever concept that turns Richard’s deposition into a corporate coup rather than a medieval revolt. Admittedly, some choices—like the bathhouse scene or Richard’s affair with Aumerle (David Mattar Merten)—veer toward camp, yet they fit this production’s aesthetic.

Cast standouts

Not everything works here, but there’s plenty of fine acting onstage. Ron Canada, in multiple roles (especially as John of Gaunt), delivers one of the evening’s strongest performances, with precise phrasing and a masterful command of Shakespeare’s dialogue.

Grantham Coleman, as Richard’s rival and cousin Henry Bolingbroke, brings understated determination that contrasts beautifully with Richard’s theatrical volatility.

Michael Urie has a blast portraying Richard as an entertaining narcissist. Yet beneath the humor, he reveals the character’s tragic vulnerability, proving how effortlessly he can balance comedy with gravitas. His performance is campy enough to amuse, but grounded enough to make the downfall sting.

Accessible & entertaining

Purists may not embrace this Richard II, yet Mr. Baldwin has created a visually dynamic, thematically relevant version that speaks to modern politics and power struggles. Ultimately, his production makes Shakespeare’s complex history play accessible, entertaining, and unexpectedly poignant—a triumph of bold direction and fearless performance.

Published November 10, 2025
Reviewed at press performance on November 8, 2025

‘RICHARD II’: (left to right) Ron Canada, Grantham Cole & Michael Urie. Photo: Carol Rosegg.

‘RICHARD II’: (left to right) Kathryn Meisle, Ron Canada, Michael Uriie & Lux Pascal. Photo: Carol Rosegg.

‘RICHARD II’: Sarin Monae West, James Seol & Daniel Stewart Sherman. Photo: Carol Rosegg.

‘RICHARD II’: Sarin Monae West, Lux Pascal, Michael Urie, David Mattar Merten, Ryan Spahn & James Seol. Photo: Carol Rosegg.

‘RICHARD II’: Michael Urie & David Mattar Merten. Photo: Carol Rosegg.

‘RICHARD II’: Michael Urie. Photo: Carol Rosegg.

‘RICHARD II’: Grantham Coleman & Michael Urie. Photo: Carol Rosegg.

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‘MORNING’S AT SEVEN’: Patty McCormack & Lindsay Crouse. Photo: Maria Baranova.

MORNING’S AT SEVEN
Written by Paul Osborn
Directed by Dan Wackerman
Through December 5, 2021
Theatre at St. Clement’s
423 West 46th Street
www.MorningsAt7.com

By David NouNou

What makes Morning’s At Seven so special is that it is one of those rare commodities: A play that has a beginning, middle and end. It is an interesting story about family life, no gimmicks, just enough quirkiness to make it believable and enjoyable, with a formidable cast whose main goal is to be their characters and entertain the audience.

The show is set in 1922 in the backyards of two adjoining houses, one belonging to Cora (Lindsay Crouse) and Thor (Dan Lauria) and the other to Ida (Alma Cuervo) and Carl (John Rubinstein). Cora and Ida are two of four sisters; the third, unmarried Arry (Alley Mills) lives with Ida and Thor. The fourth sister, Esther (Patty McCormack), married to David (Tony Roberts), lives separately from the rest, because David believes the rest of the family are “morons” and won’t allow Esther to associate with or visit them in fear that their “moronic” nature might rub off on her. Esther visits her sisters behind David’s back in fear he’ll banish her to the second floor of their home while he lives on the first.

Today, Esther does come to visit the family because Cora and Carl’s son, Homer (Jonathan Spivey), is bringing his fiancée of seven years, Myrtle (Keri Safran) to meet the entire family. This meeting unfolds family secrets, intrigues, quirkiness, and fun.

There are three essential elements that brings the revival of this 1939 play to life. The first is the visual: The set by Harry Felner is flawless, the costumes by Barbara A. Bell, and lighting by James E. Lawlor III all draw us right into the day and time so that one never feels like an audience watching a play, but neighbors sitting across the street watching everyday life. Second is the tight direction by Dan Wackerman; the proceedings glide along as everyday events.

The third and most important element is the casting of this formidable ensemble. From the veteran cast members: Lindsay Crouse, Alma Cuervo, Dan Lauria, Alley Mills, Tony Roberts, John Rubenstein to newcomers Keri Safran and Jonathan Spivey, they all have their moments and shine equally bright. However, there is one member of the cast that stood out for me: Long absent from the New York stage, Patty McCormack. Audiences know Ms. McCormack for her Oscar-nominated role as the evil little girl Rhoda Penmark from the 1956 movie The Bad Seed, a role which she created on the New York stage in 1954 through 1955. Her return to the New York stage as Esther, the smart and wise sister, is a cause for celebration.

Mornings At Seven is the perfect antidote for these difficult times. It helps us forget our troubles and makes us care for our neighbors performing across from us.

Edited by Scott Harrah
Published November 15, 2021
Reviewed at November 14, 2021 press preview performance.

‘MORNINGS AT SEVEN’: Patty McCormack. Photo: Maria Baranova.

‘MORNING’S AT SEVEN’: Dan Lauria & Alley Mills. Photo: Maria Baranova.

‘MORNING’S AT SEVEN’: Tony Roberts & John Rubinstein. Photo: Maria Baranova.

‘MORNING’S AT SEVEN’: Jonathan Spivey & Keri Safranin. Photo: Maria Baranova.

‘MORNING’S AT SEVEN’: The cast. Photo: Maria Baranova.

Video clip from Morning’s at Seven

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PAGEANT: THE MUSICAL
Book & lyrics by Billy Russell & Frank Kelly
Music by Albert Evans
Original concept by Robert Longbottom
Directed by Matt Lenz
Davenport Theater
354 West 45th Street
212-239-6200, www.PageantMusical.com

If you are old enough (or were fortunate enough) to have watched the Miss America Pageants of the 1960s or 1970s, in the days when the shows and the girls weren’t as high-tech and polished as today’s pageants, when their smiles were pasted on, their talents reeked in the cheese factor, and the contestants took themselves too seriously and believed in world peace, you’ll howl in recognition at this satire that is spot on in every aspect.Whether you watch Miss America, Miss USA or Miss Universe, today’s pageants are so slick and the women are so overtrained that the only joy comes in the final round when the five finalists have to answer a final question, and we watch in sadistic glee to see which girl answers her question miserably and become a sensation over the Internet or the punch line of every late-night  TV talk-show host.

Believe it or not, there were gentler times, when the girls were wide-eyed and naïve enough to believe that the next girl crowned would bring about world peace.I must admit that, even at a young age, I had a penchant for all three pageants and still do. In the 60s and 70s, my least favorite of the three was Miss America because of the talent portion. They used to seem interminable and dreary. It wasn’t till the 90s, when a friend gave me some vintage Miss America tapes starting in 1958, with the crowning of Mary Ann Mobley until 1970, with the crowning of Phyllis George, did I realize what a treasure trove of pure crap was captured, preserved and passed off as talent. The talent didn’t just consist of singing and some form of dance as is the fashion today, but the girls were actually inventive and imaginative in their creativity. Talent ranged from archery to sewing and ventriloquism and everything in between; and if a girl lacked talent, there was always the old standby, the monologues. They were priceless, if for no other reason than the conviction of the delivery, and if that didn’t work, there was another standby, “interpretive dance,” in some absurd costume.

Well, fret no more because Bill Russell and Frank Kelly have captured every one of those dreadful, tacky presentations and more in this revival. They have distilled it to 90 minutes of rapturous joy. Starting with the wonderful emcee, John Bolton, giving a performance that is making Bert Parks (who was the host of Miss America for 25 years) beam in his grave. Mr. Bolton gives the embodiment of every self-satisfied host who thinks he’s presiding over NATO peace talks. The six contestants competing for Miss Glamouress are absolutely sublime. In no particular order, I’ll just give their region and talent, for the rest you’ll just have to go see the show and savor every moment: Nick Cearley (Miss Great Plains), a serious Native American monologue/dance in full regalia, an absolute howl; Nic Corey (Miss Industrial Northeast) playing the accordion, a stereotypical Latina Princess replete with accent; Alex Ringler (Miss Texas), you guessed it, singer, rodeo dancer, and skips rope; Marty Thomas (Miss Deep South), a ventriloquist with multiple puppets and voices, so spot on I was left breathless with laughter,  Seth Tucker (Miss West Coast), embodiment of every awful interpretive dance performance; and finally, Curtis Wiley (Miss Bible Belt; the title says it all with a show-stopping number.) Pity there was no baton twirler that always brought the house down. Every performance is different because audiences members selected as “guest judges” get to choose the winner.

There are two more things Pageant: The Musical possesses: great costumes by Stephen Yearick that captures every aspect and section of the competition; and Matt Lenz, who brought the whole show together in a tight, effective and enjoyable evening. You don’t have to be an expert in beauty pageants to enjoy this show. All you need is a sense of humor and the ability to appreciate wonderful satire.

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