By Bart Greenberg***In the third part of Richard Maltby, Jr. and David Shire’s trilogy of themed revues, following the youthful Starting Here, Starting Now and the middle ground Closer Than Ever, quite naturally About Time is about the later part of life—its joys and its pains, its small victories and its major tragedies. The production, at the Marjorie S. Deane Little Theater and directed by Maltby, features a top notch sextet of performers:Daniel Jenkins, Lynne Wintersteller, Sally Wilfert, Allyson Kaye Daniel, Eddie Korbich and Darius De Haas, fine musical staging by the always dependable Marcia Milgrom Dodge, and a collection of songs that vary in impact. And yet, sadly, it has mixed results.
The basic problem of the show is that there’s just too much of it. With no plotline and hardly any continuing characters (Korbich occasionally serves as a stand-in for Maltby), it is hard to sustain interest beyond the 90 minutes mark, and this show runs closer to 2 hours and 15. It was notable that when the first act came down with a big finale (“To Be Alive”), some of the audience who hadn’t checked out their programs clearly thought the show was over.
Ironically, much of the best material was in the second act, with the cast members each getting an excellent solo, ranging from Korbich’s recollection of his grandfather’s unusual music hall act (“Kensington Kenny”) to Allyson Kaye Daniel’s moving art song “Just a House” about the loss of a home. Not only do these numbers demonstrate the compassion that is a hallmark of Maltby and Shire’s work, but gave the cast a great deal to work with.
Other highlights included Darius de Haas’ deeply-felt “What Do I Tell the Children” about ethics in a highly morally ambiguous world (the most political moment of the evening), Sally Wilfert’s beautifully reflective “Little Susan Lawrence” about reflecting on who she was and who she is, and Daniel Jenkins laid back celebration of his man cave where he can indulge in his favorite hobby: “I Like Jazz.” Lynne Wintersteller is also fine throughout, though she gets an unfair amount of the lesser material.
The show looks good with some stylish costumes by Tracy Christensen and expressive lighting by Mitchell Fenton. The set includes the large door that has been prominently featured in each of the revues. The uncredited sound design is excellent and nonintrusive. Deniz Cordell provided the music direction and varied vocal arrangements, as well as serving as one of the pianists at the twin Steinways (Annie Pasqua played the other). Scott Chaurette was on bass.
About Time has a great many joys, but also some definite misfires. A repetitive number about middle age men transforming themselves into bikers isn’t half as clever as it thinks it is, and some brief sketches about mature men fighting with technology is a territory that’s been visited once too many times. All would have been solved by an independent eye and a strong pair of scissors.
About Time plays at the Marjorie S. Deane Little Theatre, 10 West 64th St., NYC, thru April 5, 2026. Tickets can be purchased here.
