‘PRIMA FACIE’: Jodie Comer. Photo: Bronwen Sharp.

PRIMA FACIE
Written by Suzie Miller
Directed by Justin Martin
Through July 2, 2023
John Golden Theatre
252 West 45th Street

(212-239-6200), www.PrimaFacieplay.com

By David NouNou

To fully appreciate the play Prima Facie, one must understand the definition. The legal term prima facie “refers to a case in which pre-trial evidence was reviewed by a judge and determined to be sufficient to warrant the trial.”

Tessa (Jodie Comer) is a criminal defense barrister in the U.K, or “lawyer” as we say in the U.S. From the beginning, she describes in detail the thrill she gets when prosecuting a case and how she meticulously outlines the extraction of truths from a defendant and entraps them. She goes back to her early days in law school where she was one of 200 students in this elite class and being informed by the professor “look to your left, look to your right, one of you will not make it till the end.” Now, we get a fuller picture of who Tessa is and the determination and the love she has for the law.

She takes a case prosecuting a female rape victim, and with the loopholes in the legal system, she victimizes the woman in the case. She gets involved with a fellow barrister—the date they go on, the excessive drinking, and then inviting him back to her apartment, and what ensues. In the aftermath, she goes to report it to the police. After the incident, she finds herself in a position where the tables have reversed on her where she is the victim that is being prosecuted. She now feels the agony and shame of victimization and how the law is structured.

Being a solo play, the show rests on Jodie Comer. The performance is a revelation. She peels off layer after layer, whether in her triumphant moments or in her deepest despair. She never goes after our sympathy. She is a headstrong woman and proud of her accomplishments as a barrister. She doesn’t ask for pity but to right the wrongs in the law. Only an accomplished actress of infinite dimension can accomplish this feat, and Jodie Comer is that actress.

The main problem I had with the play is the direction of Justin Martin. There are so many sound effects from the beginning—with beating hearts to loud music—all of which are more of a distraction and jarring than complementing the play or Ms. Comer’s performance. When dealing with a serious subject of rape, less “noise” would have made sensitive moments more compelling and less distracting.

We have seen so many of these cases in America; this could be in any part of the world. The play isn’t just about rape victims and the horrors they endure. It is also about the unjust criminal law system and the reforming the system needs; to have women be heard and not allowing men to go free due to the loopholes in the law.

Edited by Scott Harrah
Published April 27, 2023
Reviewed at April 26, 2023 press performance.

‘PRIMA FACIE’: Jodie Comer. Photo: Bronwen Sharp.

‘PRIMA FACIE’: Jodie Comer. Photo: Bronwen Sharp.

‘PRIMA FACIE’: Jodie Comer. Photo: Bronwen Sharp.

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LONDON— On Sunday, April 2, 2023 at the Royal Albert Hall, the West End production of Prima Facie won 2023 Olivier Awards for Best New Play and Best Actress for star Jodie Comer (“Killing Eve”).

This month, Comer makes her Broadway debut in the solo play by Suzie Miller under the direction of Justin Martin (The Jungle). Previews for Prima Facie begin on Tuesday, April 11, 2023 at the Golden Theatre (252 West 45th Street). Opening night is Sunday, April 23, 2023. The production will play a limited 10-week engagement through Sunday, June 18, 2023. Tickets are available at Telecharge.com.

‘PRIMA FACIE’: Olivier Award winner Jodie Comer in the new drama starting Broadway previews on April 11, 2021. Photo: © Helen Murray.

For her performance in Prima Facie, which marked her West End debut, Comer also won the Evening Standard Award for Best Actress, the WhatsOnStage Award for Best Performer in a Play, the West End Debut Award from The Stage, and the BroadwayWorld UK/West End Award for Best Newcomer.

Playwright Suzie Miller also won the WhatsOnStage Award for Best New Play.

Tessa (Comer) is a thoroughbred. A young, brilliant barrister. She has worked her way up from working class origins to be at the top of her game; defending; cross examining and winning, until an unexpected event forces her to confront the lines where the patriarchal power of the law, burden of proof and morals diverge.

Prima Facie will work with The Schools Consent Project, a UK-based charity founded by Kate Parker that educates young people on issues surrounding consent and sexual assault. In addition to fundraising and donations, the production will work with the charity and various school groups to foster further understanding and education and extend the organization’s outreach in US schools.

Prima Facie will also work with Everyone’s Invited, a digital safe place for survivors to share their stories completely anonymously. Founded by Soma Sara, Everyone’s Invited provides many survivors a sense of relief, catharsis, empowerment, and gives them a feeling of community and hope.

The producers of Prima Facie recently announced that 10 tickets will be made available for $10 each at every performance via a weekly digital lottery. The $10 price point is inclusive of all fees. Beginning April 5, 2023, tickets priced at $10 for the following week’s performances will be released every Wednesday. For an opportunity to purchase a pair of seats at $10 each and to receive a weekly reminder to join the lottery, register via the Prima Facie website at primafacieplay.com/ticket-lottery

Jodie Comer won a 2019 Primetime Emmy Award for her mesmerizing performance as the psychopathic Russian assassin Villanelle in the BBC spy series, “Killing Eve.” She has also received two British Academy Television Awards for “Killing Eve” and “Help.” Her credits include the films The Last Duel and Free Guy, and the TV series, “Thirteen,” “The White Princess,” and “Doctor Foster: A Woman Scorned.” Upcoming roles include the films The End We Start From and The Bikeriders.

Jodie Comer shows off her Olivier Award for Best Actress at the Oliver Awards in London on April 2, 2023. Photo: Pamela Raith Photography.

Anglo-Australian playwright Suzie Miller is a former human rights and children’s rights lawyer. Prima Facie originally premiered in 2019 in Sydney where it won the 2020 Australian Writers’ Guild Award for Drama, the 2020 David Williamson Award for Outstanding Theatre Writing, and the 2020 prestigious Major Australian Writers’ Guild Award across all categories of theatre, film, and television.

Director Justin Martin is best known for his staging of The Jungle, which has played at the Young Vic, the West End, St. Ann’s Warehouse in New York, and in San Francisco. Other credits include Low Level Panic, Last Chance: A Plea For the Unaccompanied Children of Calais, The Nether, Fifty Two, Good Chance/No Chance, Harvey and Frieda, Street, The Kitchen and Skintight.

Prima Facie features an original score by Rebecca Lucy Taylor, who is better known as Self Esteem, and who completed her debut US Tour earlier this year for her new album, Prioritise Pleasure. She will embark on a UK tour in 2023, before returning to the US for a show at the Music Hall of Williamsburg in Brooklyn on April 12, 2023. Her soundtrack album for Prima Facie is available on digital streaming services.

Dani Arlington, who understudied the role of Tessa for the West End production, will be the understudy for the Broadway engagement.

Set and costume design is by two-time Tony Award nominee Miriam Buether. Lighting design is by Drama Desk nominee Natasha Chivers. Sound design is by Drama Desk Award winners Ben & Max Ringham. Video is by William Williams for Treatment Studio.

Production Stage Manager is Diane DiVita. Assistant Stage Manager is Georgia Bird. Marketing is by Liz Furze for AKA. Production Management is by Liza Luxenberg for Aurora Productions. General management is by 101 Productions Ltd. Company manager is Katie Andrews. Associate Producer is Kerrise Stewart.

Jodie Comer, Dani Arlington and Georgia Bird are engaged with the support of Actors’ Equity Association.

Prima Facie is produced by Empire Street Productions, Elizabeth Armstrong, Barbara Broccoli, Caiola Productions, Kristin Caskey, Echo Lake Entertainment, Eilene Davidson Productions, Eleanor Lloyd Productions, Faliro House, FilmNation Entertainment, Dale Franzen, L.T.D. Productions Inc., Holly Anderson Levow, Stephanie P. McClelland, Olympus Theatricals, Rachel Sussman and The Shubert Organization.

Trigger Warning: As much as we don’t want to give away any spoilers, we recognize that this play can cause distress or trigger challenging emotions for some audience members. Prima Facie includes sensitive subject matters including reference to sex, violence, and sexual assault. For more details and resources, visit primafacieplay.com.

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‘LIFE OF PI’: Hiran Abeysekera & Richard Parker (Fred Davis, Scarlet Wilderink, Andrew Wilson). Photo: Matthew Murphy & Evan Zimmerman for MurphyMade.

LIFE OF PI
Based on the novel by Yann Martel
Adapted by Lolita Chakrabarti
Directed by Max Webster
Gerald Schoenfeld Theatre
236 West 45th Street
(212-239-6200), www.lifeofpibway.com

By David NouNou

Life of Pi is an epic in every sense of the word and for regular theatregoers, will be a reminder of War Horse due to its puppet wizardry courtesy of Finn Caldwell and Nick Barnes. They are so masterfully crafted and come to life so vividly that we are actually invested in each and every one of them.

Starting in 1978 with Pi (Hiran Abeysekera), under his bed in an antiseptic hospital room in Mexico, he’s being questioned by Lulu Chen (Celia Mei Rubin), a Canadian government figure and Mr. Okamoto (Daisuke Tsuji), a Japanese insurance man. They want to know how this 17- year-old boy survived for 227 days and was washed up on the Mexican shore after being shipwrecked from a Japanese freighter en route to Canada. Pi has struggled with grief, loss, loneliness, physical pain and still survived.

He is reticent to talk to them at first and finally does open up to explain his childhood in India in 1976, his parents, sister, his relatives, and the zoo that his father owned. The zoo was a magical place for Pi, it housed an orangutang, a giraffe, zebra among other animals and Richard Parker, the Bengal tiger supreme.

Pi’s father (Rajesh Bose) and mother, also overseer and protector during his ordeal (Sathya Sridharan) and family are forced to leave India due to the increasingly repressive government.

As the journey begins, so does the magic created by set and costume designer Tim Hatley. Turning the hospital room and bed into an ocean and a boat is nothing short of extraordinary and a visual extravaganza. As Pi jumps ship after being sunk in a storm, his companions consist of a giraffe, zebra, orangutan and Richard Parker. I don’t have to go into detail about the giraffe, zebra and orangutan. Suffice it to say, the battle is between Pi and Richard Parker and their mutual understanding of each other.

Unlike the movie— which relied mostly on special effects to engage the mass audiences—here religion and metaphysics play a big part in Pi’s survival and it is manifested in the scenes between the hospital and the ocean. Hiran Abeysekera originated the role of Pi (for which he won an Olivier Award last year as best actor) and he captures Pi’s innocence in the beginning as well as his struggles and ordeals with life, religion, and survival.

Special kudos have to go to all the handlers but especially those of Richard Parker, consisting of his head, his hind, and his heart, and his masterful voice is that of (Brian Thomas Abraham).

Life of Pi is a journey of mystical belief and an unforgettable visual treat and experience long after leaving the theatre.

Edited by Scott Harrah
Published April 2, 2023
Reviewed at April 1, 2023 press performance.

‘LIFE OF PI’: Sonya Venugopal, Celia Mei Rubin & Hiran Abeysekera. Photo: Matthew Murphy & Evan Zimmerman for MurphyMade

‘LIFE OF PI’: Hiran Abeysekera, Mahira Kakkar & company. Photo: Matthew Murphy & Evan Zimmerman for MurphyMade.

‘LIFE OF PI’: Hiran Abeysekera, Mahira Kakkar & company. Photo: Matthew Murphy & Evan Zimmerman for MurphyMade.

‘LIFE OF PI’: Rajesh Bose & Hiran Abeysekera. Photo: Matthew Murphy & Evan Zimmerman for MurphyMade.

‘LIFE OF PI’: Rowan Magee, Celia Mei Rubin, & Nikki Calonge. Photo: Matthew Murphy & Evan Zimmerman for MurphyMade.

‘LIFE OF PI’: Rowan Magee, Celia Mei Rubin & Nikki Calonge. Photo: Matthew Murphy & Evan Zimmerman for MurphyMade.

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‘THE FATHER’: Frank Langella & Kathryn Erbe. Photo: Joan Marcus

THE FATHER
Written by Florian Zeller
Translated by Christopher Hampton
Directed by Doug Hughes
Through June 12, 2016
Samuel J. Friedman Theatre
261 West 47th Street
(212-239-6200), www.manhattantheatreclub.com

By David Nounou

To say The Father is a harrowing play is an understatement. The uniqueness of this play is we are ultimately viewing it from the perspective of the person with dementia and not from the usual perspective of family, relatives or caregivers. For anyone who has had to deal with a parent, spouse, loved one or friend, from the onset of dementia to finally succumbing to it, is a horrific ordeal. However, Florian Zeller, the French playwright, has made this disease into an unforgettable theatrical experience

We see Andre (Frank Langella) in his deluxe Paris apartment rebuking his daughter, Anne (Kathryn Erbe) for suggesting that he should have someone look after him during the day. He accuses his former caregiver of stealing his watch so he threw her out. Anne tells and proves to Andre that the caregiver did not steal his watch, but he hid it himself in the kitchen cupboard. Andre is constantly demanding to see his other daughter, Elise and why doesn’t she come to visit him, and so the journey in the mind begins.

There are a lot of twists and turns in The Father that would be criminal to divulge. Suffice it to say it is one of the most riveting plays on Broadway this year. What gives it that additional suspense is the impeccable performance by Frank Langella. When we first see his Andre all dressed and pressed in his living room, we almost believe by his forth righteousness that it is Anne who is scheming to put him away. Watching Mr. Langella–first as a charming bastion of strength to the bitter end as layer after layer of his sanity being peeled away–is watching one of the most magnificent performances of the year.

Miss Erbe’s Anne is sympathetic and caring; she does her best to take care of Andre even at the expense of her own she relationship with Pierre (Brian Evers) who suggests putting him in a care facility. They both give fine performances but the attention is always on Mr. Langella.

The one distraction of the play is the lights that flash at the audience to indicate scene changes; when you have such a heavy subject, those lights become a nuisance. Doug Hughes, the director, should have softened the distracting light effect because it takes away from the tension and the drama created on the stage. However, due to Mr. Langella’s superior performance we overcome this obstacle.

Through Mr. Zeller’s interpretation and Mr. Langella’s performance, we see dementia in a new light; not as observing the patient with this disease, but seeing events that might have happened a day ago or a minute ago through the eyes of the patient and the moment-to-moment ordeals they face on a daily basis.

Edited by Scott Harrah
Published April 18, 2016
Reviewed at performance on April 17, 2016

‘THE FATHER’: Frank Langella & Hannah Cabbell. Photo: Joan Marcus

‘THE FATHER’: Frank Langella. Photo: Joan Marcus

‘THE FATHER’: Frank Langella. Photo: Joan Marcus

‘THE FATHER’: Kathryn Erbe & Frank Langella. Photo: Joan Marcus

‘THE FATHER’: Kathryn Erbe & Frank Langella. Photo: Joan Marcus

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‘KING CHARLES III’: Tim Pigott-Smith as Charles at the Coronation. Photo: Joan Marcus

KING CHARLES III
Written by Mike Bartlett
Directed by Rubert Goold
Music Box Theatre
239 West 45th Street
(212-239-6200), www.kingcharlesiiibroadway.com

By Scott Harrah

The Queen is dead. Prince Charles is now King.

As the show opens, we see the Windsors on a dark stage, holding candles and singing an Anglican-style requiem in Latin for their beloved Queen Elizabeth II. From the very first scene, it is evident that playwright Mike Bartlett and director Rupert Goold have created a distinctly British saga that is mired in the complex machinations of “The Crown in Parliament,” for what follows is as much a story about the royals’ place in politics as it is about their glamour.

Last season’s The Audience starred Oscar winner Helen Mirren as Her Majesty, and took dramatic license to depict what was discussed during decades of the Queen and her private weekly meetings with various prime ministers. This latest British import about the Crown isn’t even based on fictionalized “facts” or history. The whole show, featuring a cast of outstanding British actors, is a nearly three-hour hypothesis of what could happen when Elizabeth dies. The show raises numerous questions about the validity and relevance of the monarchy in the 21^st century and is consistently riveting.

The British monarchy is merely a curiosity for Americans. Prince Charles and Camilla, Princes William and Harry, Kate Middleton, Queen Elizabeth II and the late Princess Diana are simply celebrities to us. Americans follow the merry lives of the Windsors as if they are well-dressed characters on an upscale reality TV show, but there is more to the monarchy than scurrilous gossip. For people in the United Kingdom and the Commonwealth, the monarchy is a controversial institution indeed that is the foundation of government, history and culture, and something citizens of these “realms” have strong opinions for and against. The head of state, though a figurehead, is not elected but instead “anointed by God himself,” and everything related to the government is named after the monarch. In addition, the monarchy costs taxpayers money, so the royals’ “role” is constantly questioned by critics. The very existence of this anachronistic tradition is challenged, in epic, tragicomic, Shakespearean detail in Mike Bartlett’s Olivier Award-winning “future history” play.

Tim Pigott-Smith as Charles and Adam James as Mr. Evans, the British prime minister, are both magnificent. It is the king and his prime minister—and their endless clashes—that make the drama so fascinating and give the show a Shakespearean feel, thanks to the two actors’ richly textured portrayals. Shortly after his mother’s funeral, Charles has his first weekly audience with the prime minister. A bill for statutory regulation of the press has passed in Parliament and the PM simply needs Charles’ signature (royal assent) to become law. The trouble is, Charles knows that regulating the media also restricts freedom of the press. The PM says it would help avoid future hacking scandals and violations of privacy (referring, of course, to the voicemail hacking crimes at the News of the World). The most ingenious aspect of the play is author Mike Bartlett’s idea of Charles being a royal with a mind of his own, rather than simply being known for cheating on Diana with Camilla (Margot Leicester).

Charles, at least in Mr. Bartlett’s mind, wants to make an actual difference as a monarch. Charles believes regulating the press would lead to government censorship of legitimate news, and open the door for corruption in Parliament that the press couldn’t accurately cover.

Charles defends the press that has made his family’s lives such hell. Because, in Britain, the monarchy only “rules” by public opinion (one nurtured by the press), so the sovereign and Fleet Street have an ongoing symbiotic relationship. It’s truly fascinating theater to watch if—and only if— one is interested in the monarchy, the ethics of journalism and democracy, or the arguments for and against the royals’ existence.

Charles is later visited by a Ghost (Sally Scott), who turns out to be his late ex-wife Diana. Like the witches in Macbeth, this paranormal visitor has a prophecy, but it’s a good one. For the husband for whom she loved and was emotionally tortured by in life, she says, “You will be the greatest king ever.” She is portrayed as a ghoul with a black veil (sorry, no Versace gown, Diana fans). When he tries to question what she means, she vanishes. She makes another appearance to son William and tells him he will also be the greatest king. Confusing at first, but without giving too much plot away, Diana’s cryptic prophecies ultimately come true.

The most trenchant scenes in King Charles III involve Mr. Pigott-Smith playing the new king dealing with nasty clashes in Parliament, and the last 15 minutes of the show in which the fate of the monarchy is finally decided. Mr. Pigott-Smith is truly heartbreaking in his final showdown with William, Harry and Kate. Every raw hole of his soul is bared, and Mr. Pigott-Smith brilliantly depicts the pain Charles feels. His final soliloquy to his children is one of the finest moments of acting you’ll see on Broadway this season, as haunting as anything from Shakespeare’s King Lear or Macbeth.

Oliver Chris is effective as William, as is Lydia Wilson as wife Kate. Both are supposed to display a conniving, Machiavellian streak, but seem to have been cast simply because they look similar to the real-life Will and Kate. Margot Leicester plays Camilla with unconditional love for Charles, Miles Richardson as James Reiss, Charles’s acerbic, sarcastic press secretary, is first-rate. Mr. Richardson’s James Reiss delivers many poisonous bon mots with aplomb.

The most unnecessary subplot involves Harry (Richard Goulding), the ginger-haired, hard-partying playboy. Mr. Goulding does a fine job as Harry, but watching him stagger drunk across the stage, talking about visiting a Burger King in Leicester Square and wishing to be a commoner, is pointless. Even more absurd is his fling with an art student, Jess (Tafline Steen), both of them parading around London streets. There are some other head-scratching moments, particularly the opening of Act II, when protesters outside Buckingham Palace wear silly masks straight out of V for Vendetta for no apparent reason

Rupert Goold directs everything at a gripping pace, which is no easy task with subject matter this epic and thorny. One wonders if the show could have been polished, with the aid of an American co-director, to trim the unnecessary subplots. To audiences in Britain or any Commonwealth nation in which the Windsors “reign,” King Charles III is heady, provocative stuff. In America, however, the complicated political narrative and convoluted back story limit its appeal. However, King Charles III is still a masterpiece. Love live the king.

Edited by Scott Harrah
Published November 8, 2015
Reviewed at press performance on November 5, 2015

‘KING CHARLES III’: Oliver Chris as Prince William, Duke of Cambridge & Tim Pigott-Smith as the new King Charles. Photo: Joan Marcus

‘KING CHARLES III’: Oliver Chris as HRH William, Duke of Cambridge & Lydia Wilson as HRH Katherine, (“Kate”), Duchess of Cambridge. Photo: Joan Marcus

‘KING CHARLES III’: Lydia Wilson & Tim Pigott-Smith. Photo: Joan Marcus

‘KING CHARLES III’: Margot Leicester as Camilla, Duchess of Cornwall & Tim Pigott-Smith as King Charles Photo: Joan Marcus

‘KING CHARLES III’: Tafline Steen as Jess, a new girlfriend for (right) Prince Harry (Richard Goulding). Photo: Joan Marcus

‘KING CHARLES III’: Tim Pigott-Smith. Photo: Joan Marcus

‘KING CHARLES III’: The cast sings a requiem for Queen Elizabeth II. Photo: Joan Marcus

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PERFORMANCE OF THE SEASON: Alex Sharp is brilliant in ‘The Curious Incident of the Dog in the Night-Time.’. Photo: Joan Marcus

THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME
Written by Simon Stephens
Based on the novel by Mark Haddon
Directed by Marianne Elliott
Barrymore Theatre
248 W. 47th Street
(212-239-6200), www.curiousonbroadway.com

 By Scott Harrah

Over the past decade, there have been very few truly great stage dramas. The History Boys, August: Osage County and now, direct from the United Kingdom, add The Curious Incident of the Dog in the Night-Time to the preeminent list.

This explosive story demonstrates that great original theater— the type that overwhelms the senses and restores one’s faith in quality, live entertainment that actually says something— is definitely possible. Based on Mark Haddon’s eponymous 2003 bestseller, the story starts out with a proverbial bang and, for the most part, never lets up. Christopher Boone (the outstanding Alex Sharp) is a troubled 15-year-old in suburban England. As the play opens, we see that a big, furry dog named Wellington has been brutally murdered with a pitchfork. Christopher desperately tells the dog’s owner, Mrs. Shears (Mercedes Herrero) that he didn’t kill Wellington, but she still calls the police.

What follows is a series of disturbing events, all of which take the audience on a theatrical roller-coaster ride. Everything is shown from the perspective of this scared young lad, moving from an English garden to a train station to fast-paced London. The boy is determined to find the dog’s killer, but this proves to be no simple task because Christopher isn’t your average teen. Although it is never clarified, he has all the signs of Asberger’s syndrome or autism, for he has trouble communicating, screams if anyone touches him, but yet he is a genius at mathematics.

The Curious Incident is a rare blend of traditional and experimental theatrics and high-tech special effects, adapted by Simon Stephens, along with painstaking direction by Marianne Elliott (War Horse), and innovative scenic and costume design by Bunny Christie, lighting design by Paule Constable and video design by Finn Ross. Yes, the scenic and technical designers are as much the stars of the show as the actors because we are treated to a visual feast of everything from starry skies and geometric patterns to a pulse-churning scene on the rails of a London Underground station, using projections, eerie music and lighting on an ever-evolving set.

Gimmicky? Not really, because all the technical wizardry gels beautifully with the storyline, fleshed out by 15 actors, some playing multiple roles. Because the lead is so demanding, Taylor Trensch plays Christopher at certain performances.

Beneath the flashy phantasmagoria before us is a solid narrative, with a cast giving their all, for at its core, The Curious Incident is a story about a boy’s rocky relationship with his complicated parents. Of particular note are Ian Barford as Christopher’s caring father, Ed; Francesca Faridany as his bighearted teacher, Siobhan; and Helen Carey as the kind, elderly neighbor lady that offers him cake and orangeade and tries to be his friend.

Perhaps there’s a little bit of Christopher Boone in all of us: Facing life’s daily battles, having to be brave, uncertain of what lies ahead. It is the ingenious depiction of these very human emotions that makes The Curious Incident of the Dog in the Night-Time so heartbreakingly real, touching and exhilarating, and unlike any drama Broadway has seen (or will likely see) in many years.

AN ILLUMINATING THEATRICAL EXPERIENCE: (left to right): Helen Carey, Mercedes Herrero, Alex Sharp (kneeling), Richard Hollis, David Manis & Ben Horner in ‘The Curious Incident of the Dog in the Night-Time.’ Photo: Joan Marcus

FLYING HIGH: (left to right) Mercedes Herrero, Alex Sharp (above), Richard Hollis & Jocelyn Bioh. Photo: Joan Marcus

Edited by Scott Harrah
Published October 10, 2014
Reviewed at press performance on October 9, 2014

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