Weather 
Lincoln Center Theater’s The Whoopi Monologues, a reimagining of Whoopi Goldberg’s iconic show, just opened last night at the Mitzi E. Newhouse Theater.
Written by Whoopi Goldberg and directed by two-time Tony Award nominee Whitney White, The Whoopi Monologues will star Emmy Award Nominee Dominique Fishback, Tony Award winner Kecia Lewis, NAACP Image Award Winner Danielle Pinnock, Emmy Award-winning producer and Golden Globe-nominated actress Kerry Washington, and two-time Tony Award winner Kara Young, with Kai Heath, Denise Manning, and Pavar Snipe rounding out the cast as understudies.
In 1984, then unknown monologist Whoopi Goldberg premiered her provocative, thought-provoking one-woman show on Broadway, torching the rulebook of traditional solo performance in one of the most electrifying debuts of the era. Now, the trailblazing work returns, reimagined for a new generation led by a remarkable ensemble of 5 women bringing Goldberg’s unforgettable characters back to the stage. Funny, vivid, and deeply human, these nuanced portraits feel as fresh and irresistible today as they were over 40 years ago.
Check out what the critics had to say…
Charles Isherwood, Wall Street Journal: I don’t recall the singalong from either the original production or its revival, but it’s emblematic of this version’s more loose, embracing style. The attention here is on the emotional connection established between actors and audience through Ms. Goldberg’s bright-hued portraits of people reflecting on the odd byways of their lives.
Robert Hofler, The Wrap: Whoopi Goldberg did it alone not once but twice on Broadway. Her solo show “The Whoopi Monologues” opened in 1984 at the Lyceum Theatre, and she starred again 20 years later in its revival, again at the Lyceum. She played five female characters, and much of the show’s power and charm came from her quick metamorphoses in presenting each of these very different women.
Thom Geier, Culture Sauce: The question is not whether these joke-laced routines work without Whoopi Goldberg. They do, especially performed here by a first-rate cast with an innate sense of comedic timing. Instead, the issue is how well these sketches hold up four (or two) decades after their creation. (Goldberg herself dropped two monologues from the original 1984 Broadway show for the last revival, and added the one that Lewis performs.) There’s a sketchiness that’s built into the format. But part of the initial appeal, that Goldberg was embodying this grab-bag of wildly different personalities, is lost in the new format. But as a showcase for a quintet of gifted comedic actresses, The Whoopi Monologues still delivers.
Juliet Hindell, Exeunt: The individual performances in The Whoopi Monologues may be the most fortuitous update of this revival. Goldberg was able to embody each persona with aplomb when she played them all herself, but here we are treated to five top-tier talents in one evening. With some delightful banter and some fun stage craft where all five women appear together, The Whoopi Monologues have been reborn for a new generation and are not showing their age.
Matthew Wexler, 1 Minute Critic: Any of the actresses—including a humorous-to-heart-wrenching turn by Kerry Washington as a teen who takes an unwanted pregnancy into her own hands—would have been formidable in tackling the entire lineup. That prospect hovers like unfinished business, despite the polish and specificity each brings to the production. The Whoopi Monologues offers a kaleidoscopic lens into the transition from girlhood to womanhood. Goldberg’s knack for finding humor in the darkness of addiction, reproductive care, and racism never undermines the play’s potency.
Melissa Rose Bernardo, New York Stage Review: The characters do a good deal of interacting with the audience—perhaps none more than Jamaican Lady (Pinnock), who ditches her life as a beachside souvenir vendor in Kingston to accompany an “incredibly wrinkled and very very tan” 85 or 90-year-old man to the States as his “companion.” She calls him “The Old Raisin.” And when she begins a story about their sexual encounter—“Let me tell you something in praise of the older man”—if you’re a silver-haired gent seated down front, be prepared to share the spotlight. “Them old raisins zero in and go right for the money.” On Saturday ni
Frank Scheck, New York Stage Review: But while The Whoopi Monologues serves as a showcase for its five performers much as it did for its creator, the divvying up reduces rather than enhances its impact. The evening ultimately feels like less than the sum of its parts.
Brian Scott Lipton, Cititour:
Whitney White’s staging is filled with only occasional bits of stage business (aided in part by Hana S. Kim’s projections) that add some theatricality to the proceedings; I especially enjoyed watching the five women onstage together doing The Hustle. But being one of our smartest directors, White clearly knows that, in these ultra-capable hands, Whoopi’s words speak for themselves.
Howard Miller, Talkin’ Broadway: While The Whoopi Monologues occasionally feels dated, the collection is at least as enjoyable as listening to the still-in-print recording of Goldberg’s act. The scenic design by Studio Bent and the video design by Hana S. Kim provide nice backdrops for the overall production. And there can be no competition for the enjoyment of seeing these five fine actresses taking on the roles in person and making them their own.
Joe Dziemianowicz, New York Theatre Guide: Director Whitney White’s staging leans more into action. Her cast moves around the stage more, high-fiving theatregoers, unbuttoning a jacket to reveal sexy lingerie, and getting down on a dance floor. It’s a busier take, but it’s not more effective. Another issue is that sketches can ramble, lack nuance, and feel dated, and these script weaknesses stick out more as other actresses step up. Cast members have varying degrees of success at making Goldberg’s characters pop.
Average Rating: 75.0%
