This feels like an odd conclusion to reach when Trading Places: The Musical has gender-swapped the Eddie Murphy and Jamie Lee Curtis characters from the film, but that daring set of choices doesn’t lead the story down any surprising new paths. They are also sold at the box office of the Music Box Theatre (239 West 45th Street).Though its cast is extremely talented and its vibe is fun, the musical adaptation of the edgy, problematic 1983 film Trading Places, onstage at the Alliance Theatre through June 26, feels much too safe to be memorable. ![]() Tickets are on sale and available for purchase at or by calling (212) 239-6200. The creative team includes scenic design by John Lee Beatty, costume design by Jessica Pabst, lighting design by Japhy Weideman, sound design by Jill BC Du Boff, projection design by Peter Nigrini, and hair and make-up design by Leah J. Tony Award-winner Pam MacKinnon (Edward Albee’s A Delicate Balance, Edward Albee’s Who’s Afraid of Virginia Woolf?, Clybourne Park) directs. The actors include Ali Ahn as Susan Johnston, Leighton Bryan as Jill/Debbie/Lisa, Elise Kibler as Becky/Clara/Denise, and Andy Truschinski as Chris Boxer/Mark/Waiter/Ray. Biggs and Pinkham are well cast, and the supporting players, though appealing, play multiple roles (which sometimes feels odd), but they do their best with the more superficial nature of their characters. Her lengthy opening speech in Act II is both emotional and packs a punch. She’s strong, playful and tender when she needs to be. How would Heidi (and Wendy) respond now? If only we could know.įeatured in the show are Golden Globe-winner and six-time Emmy Award-nominee Elisabeth Moss (“Mad Men,” “Top of the Lake,” Speed-the-Plow), Emmy Award-nominee Jason Biggs (“Orange Is The New Black,” American Pie), Tony Award-nominee Bryce Pinkham ( A Gentleman’s Guide to Love and Murder, Bloody Bloody Andrew Jackson), and Tracee Chimo ( Lips Together, Teeth Apart, “Orange Is The New Black,” Bad Jews). Many women pose these same questions today, especially some later moms who might have delayed motherhood in order to build up satisfying career credentials. Heidi is a feminist and art historian, and while she fights to maintain her identify, she comes to understand that whatever path is chosen, there are disappointments and sacrifices made, and nothing comes with a guarantee, even if women get what they anticipate life should offer.Ĭan women have it all? Is there such a thing? Heidi’s friends start out with certain aspirations, only to ultimately marry, have kids, and trade in their professional goals for a suburban existence. Their respective relationships with each other and others take various twists and turns that shape the many choices each makes. One of them, wise-talking Scoop Rosenbaum (Jason Biggs) becomes a love interest and publisher, and Peter Patrone (Bryce Pinkham) becomes her saucy BGF (Best Gay Friend) and a doctor. The play introduces us to Heidi Holland as an awkward, yet highly intellectual high school student, who attends a school dance with a man-hungry girlfriend where she meets two men who play pivotal roles, for better or worse, in her life as the years go on. The play was originally produced by Playwrights Horizons in 1988, moved to Broadway, and then won the Pulitzer Prize, the Tony Award, the New York Drama Critics Circle Award, the Outer Critics Circle Award, the Drama Desk Award, the Hull-Warriner Award, and the Susan Smith Blackburn Prize. ![]() So, when I heard that The Heidi Chronicles was coming to Broadway, I couldn’t wait to see it. She was a “later” single mom of a beloved daughter named Lucy, and I would have loved to profile her for. I adore playwright Wendy Wasserstein, and was hugely saddened by her untimely passing at age 55.
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