Arguably, nobody in the theatre community ate their turkey and stuffing with more relish than dramatist Kenneth Lonergan. The advance word on his play The Starry Messenger — which opened Nov. 23 at The New Group, after having been delayed for years and bumped from the schedule of a couple other theatres — was some of the most deadly in years. The play was overlong, the gossips wagged, and Lonergan refused to cut. The playwright was in over his head directing his own work. One star quit in disgust, and star Matthew Broderick couldn't remember his lines. Train wreck dead ahead!

Then the reviews came out. Yes, some were not kind. ("A dull play about a dull man, duly and dully played by Matthew Broderick," wrote one critic.) But the ever-important New York Times review began with the line "If this is what a disaster looks like, bring on the apocalypse," and continued with, "the gentle, compassionate comic drama that opened on Monday night at the Acorn Theater has the sweet taste of redemption." Other major publications, such as Variety and the New York Post, said the tale of a professor experiencing a mid-life crisis, "smartly refuses forced epiphanies in favor of quiet contemplation, with an intimacy that reverberates across the night sky blanketing the walls of Derek McLane's set," and had "so much empathy for its characters that all of them, even the unseen ones, seem to possess a deep inner life." Now, maybe Lonergan can finally finish "Margaret," his shot-but-not-released film.

Fela!, the new musical that transferred from Off-Broadway, also desperately needed a critical boost to aid its sagging box office. It got it on Nov. 23, opening night. "There has never been anything on Broadway like this kinetic portrait of Fela Anikulapo-Kuti, a Nigerian revolutionary of song," wrote the Times' Ben Brantley, who's liking his hyperbole this week. Critics were throwing the thumbs-up and stars all over the place. Bill T. Jones' production was "throbbing," "electrifying," "adventurous," "exuberant," "exciting" and "super-stimulating." (If you have a heart condition, you apparently should not go to this show.) Now new producers Jay-Z and Will Smith can start fielding all those calls from friends who suddenly need house seats.

Another big opening this week, on Nov. 22, was all the way uptown at the Apollo Theatre, not typically used as a theatre house. It was Dreamgirls, produced by lawyer John Breglio, who began his producing career with another Michael Bennett property, A Chorus Line. A touring show that began way off in South Korea, it will head to Baltimore after the Apollo run. The production was not lucky, timing-wise, in its director-choreographer, Robert Longbottom, who was just raked over the coals by the critics for his botched Bye Bye Birdie. But most agreed that this uptown effort was far more successful, and that, while it wouldn't erase memories of the original, the revival was very entertaining, and that the cast of unknowns boasted a few notable new talents. Most said it needed more work, and could use more scenic attractions, but the overall reception was positive. The Times, however, mostly demurred, deeming the new version a "comic strip" version of the material.

Stephen Sondheim's A Little Night Music is finally back on Broadway, after 35 years. Previews began Nov. 24 for the revival, which stars Catherine Zeta-Jones and Angela Lansbury. Trevor Nunn directs. Opening is Dec. 13.

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Frank Wildhorn openings? What is this, the '90s? There were two this week. One was Bonnie & Clyde at the La Jolla Playhouse on Nov. 22. Stark Sands and Laura Osnes starred as the bandits in a show that was called "slight and predictable" by some and "excellent" by others. Meanwhile, Wonderland, a new pop musical take on Lewis Carroll's "Alice in Wonderland" tale, began previews for its world-premiere run in Tampa, FL, on Nov. 24. Janet Dacal stars in the title role with Karen Mason as the Queen of Hearts.

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Finally, The Irish Repertory Theatre's acclaimed production of Eugene O'Neill's The Emperor Jones will get a seven-week Off-Broadway commercial run starting Dec. 15. John Douglas Thompson will return as the title character of the 1920 expressionistic drama. The show is directed by Ciaran O'Reilly, who directed a well-received revival of O'Neill's The Hairy Ape a couple years back, and appears to have a talent for enlivening neglected O'Neill works. Time to dust off Marco Millions!

(At press time, the producers of the current tenant of the Soho Playhouse, Made in Heaven, said they were not vacating the property and had a solid contract to stay. They were surprised by the planned invasion of the Emperor. Stay tuned.)