‘POTUS’ Broadway review: Amped-up White House farce is too wild

EXCLUSIVE: Brad Anderson, the multi-hyphenate behind the iconic Christian Bale thriller The Machinist, has signed with Paradigm for representation.

Broadway’s “POTUS” —a role she’s been gathering material for her entire life. “I’ve met five first ladies in my lifetime, which has been pretty extraordinary, so I’ve got some great history to pull from,” the 59-year-old told The Post via Zoom on Friday.

Darren Criss and Julianne Hough – both currently starring on Broadway, he in American Buffalo, she in POTUS -will co-host the pre-Tony Awards livestream special on Paramount+ next month.

Julianne Hough rocked a stunning vintage YSL dress on Monday to attend the annual Robin Hood ball - the same day her Broaway musical received three Tony nominations.MORE: HELLO! launches Jubilee T-shirt collection to celebrate Queen Elizabeth in styleThe actress and dancer wore the strapless black polka dot gown that featured a ruched chest and fabulous A-line sheer skirt that flared out from the hips.

Trouble in Mind” was big news last season. Her “Wedding Band” is even bigger news this theater season.

Gabby Barrett made a very special announcement on Mother’s Day to her fans – she’s pregnant with her second baby!

Barrett asked during oral arguments why safe-haven laws wouldn’t ease the burden of parenthood from those seeking abortion. Safe-haven laws make it legal for parents or guardians to voluntarily give up a newborn baby.“I don’t understand why you need abortion because you can leave a baby anywhere in the United States.

Julianne Hough steps out in a bright yellow dress for the opening night party for POTUS held at The Shubert Theater on Sunday (May 1) in New York City.

Is this a Walther PPK which I see before me? Almost! It’s former James Bond actor Daniel Craig, who’s starring as the Scottish king killer in “Macbeth” on Broadway. His uninvolving and ponderous production (it opened Thursday night at the Longacre Theatre, but barred critics from publishing reviews till midday Friday for reasons that will soon become obvious to you) is a real Blunderball.Two hours and 20 minutes, with one intermission. At the Longacre Theatre, 220 W 48th Street.

A very busy Broadway season comes to a close with its final production, and Sam Gold’s staging of Macbeth starring Daniel Craig and Ruth Negga is nothing if not a dynamic attempt to cap an unusual and often extraordinary theater season. Uneven – if not so much as Gold’s 2019 King Lear with Glenda Jackson – and peppered with choices both curious (what, no “double double toil and trouble?”) and captivating (a brief prologue that’s as funny as it is timely), this iteration of The Scottish Play, which opened last night at the Longacre Theatre, nearly holds up to the unavoidable hype of its starry cast.

Marilyn Stasio Theater CriticI am woman, hear me roar — with laughter, at “POTUS: or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive,” playwright Selina Fillinger’s delicious feminist farce about the all-female staff that keeps the country out of war and other sticky situations while babysitting the dullard who holds the highest office in our beleaguered land. Playing characters largely unknown to the public within the world of the play are actors Lilli Cooper, Lea DeLaria, Rachel Dratch, Julianne Hough, Suzy Nakamura, Julie White and Vanessa Williams.

You might feel like you’ve already seen Mr. Saturday Night the musical even if you’ve never seen Mr. Saturday Night the movie, and whether you find that comforting – Billy Crystal certainly is one of the most likable presences in all of show business – or disappointing might depend entirely on your taste for well-delivered Borsht Belt comedy.

Like some strange brew blend of VEEP, Noises Off and one of the late Charles Ludlam’s outrageously vulgar (and still sorely missed) Ridiculous Theatrical Company follies, Selina Fillinger’s all-female, star-packed political satire POTUS: Or, Behind Every Great Dumbass are Seven Women Trying to Keep Him Alive is an occasionally glorious mess of a farce, sometimes chaotically funny and other times as what-were-they-thinking?? goofy as the last segment of a Saturday Night Live episode.

Allow Usher, the central – only? – character of Michael R. Jackson’s scathingly funny and Pulitzer-Prize-winning musical A Strange Loop, to introduce himself.

A Brontosaurus and a Woolly Mammoth taking up residence among the mid-century modern trappings of a middle-class New Jersey household will now and forever make a theatrical impact – that, at least, hasn’t changed since playwright Thornton Wilder’s days – but so much else has, not least of all the ability of The Skin of Our Teeth, a seminal post-modern avant-garde winner of the 1943 Pulitzer Prize, to beguile merely on the strength of the post-modern avant-gardeness of it all.

Smartly sidestepping the obvious comparison from the start – the line-reading of “Hello gorgeous” sounds more conversational, less sing-songy than the one etched in our brains for all these decades – Broadway’s new Funny Girl revival doesn’t so much make a grand play for replacement as a peaceful offering for coexistence: The show that made Barbra Streisand a musical theater icon likely won’t do the same for its latest star, but neither is it cause for grumbling how-dare-shes.

EXCLUSIVE: Sirens, a rock doc about Beirut all-female thrash metal band Slave to Sirens, will get a theatrical run after Oscilloscope Laboratories bought the North American rights.