Playwrights Horizons: Grey Gardens, Spatter Pattern by Neal Bell. Recent credits include LaChiusa and Pearson's Giant (Public Theater/Dallas Theater Center); Tony Kushner's Angels in America (Signature Theatre) and The Intelligent Homosexual's Guide... (The Public/Signature); The Winter's Tale and Romeo and Juliet (Delacorte Theater). On Broadway he directed the Pulitzer Prize winning musicals Next to Normal (also at Second Stage/Arena) and Rent (also at NYTW, 1996; NWS, 2011) and Grey Gardens, receiving Tony nominations for each, and Never Gonna Dance. Michael received Obie Awards for Machinal, Rent, and Jessica Hagedorn's Dogeaters. Angels in America received the 2011 Lortel Award for Best Revival (As of May 2013).
Photo by Zack DeZon
Kelli O'Hara is one of the best performers in musicals today. The sense of hope that pulses in her voice breaks your heart.—Ben Brantley, New York Times
A smart, sophisticated, perfect vehicle for Kelli O'Hara's soaring voice and endearing stage presence, with an elegant diversity of music by Scott Frankel. Michael Korie's thoughtful lyrics sensitively express turbulent inner emotions. Richard Greenberg’s book accurately depicts the artificial tenor of the times. Michael Greif and his design team have created a fluid, visually compelling production, enhanced by Catherine Zuber's gorgeous costumes.—Jennifer Farrar, AP |Read Full Article
Both Steven Pasquale and Isaiah Johnson have Broadway-big talents that are thrilling to watch.—Adam Markovitz, Entertainment Weekly
Heaven-sent. A gorgeously lush and evocative score. Scott Frankel and Michael Korie easily top their Tony-nominated work from Grey Gardens. Their songs are given the deluxe treatment from Playwrights Horizons.—Elisabeth Vincentelli, NY Post
A haunting, uncommonly serious contemporary musical. The ravishingly beautifu score evokes Leonard Bernstein. Michael Greif's direction of the actors is faultless.—David Rooney, Hollywood Reporter
A rare commodity: a rich, operatic, tightly integrated post-Sondheim score. There hasn’t been a score like this since The Light in the Piazza.—Matt Windman, AM/NY