Years ago, I remember seeing a cartoon depicting two lonely people sitting in a huge convention center below a banner welcoming “Children From Functional Families.”

We all come from dysfunctional families, which is why it’s so easy to relate to Joshua Harmon’s “We Had a World,” an engrossing, ferocious and often funny memory play, having its world premiere at Manhattan Theatre Club’s Stage II. It’s an ode to his grandmother Renee, played by Joanna Gleason, one of Fairfield County’s finest actors, who delivers a rich, riveting, rapturous performance.

Outspoken Renee opens the drama, telling her writer/grandson Josh (Andrew Barth Feldman), “I’ve got your next play. It’s called ‘Battle of the Titans’ about your mother and your aunt. It’ll be ‘Virginia Woolf, Part 2.’”

“I want you to promise me something,” she adds, revealing a tantalizing touch of wickedness. “Make it as bitter and vitriolic as possible. It ought to be a real humdinger.” “There’s no straight line to tell this story.” Josh earnestly explains. “It’s confusing.”

First, there’s the strained relationship between eccentric, alcoholic Renee and Josh’s judgmental, lawyer mother Ellen (Jeanine Serralles), followed by Ellen’s tense, awkward estrangement from her sister Susan. Living on Manhattan’s upper West Side over a period of 30 years, the family weathers several unconventional crises, primarily precipitated by the complicated mother-daughter conflict between whimsical Renee and uptight Ellen.

Unfolding in a non-linear structure from various characters’ perspectives, the narrative is occasionally confusing and often repetitive. But that’s a minor quibble because the talented acting trio rises above the contrivances to propel the production, deftly directed by Trip Cullman.

Kudos to John Lee Beatty’s simplistic set design, lit by Ben Stanton with sound by Sinan Refik Zafar and time-authentic costumes by Kaye Voyce.

For a memory refresh: Joanna Gleason won a Tony for “Into the Woods,” Andrew Barth Feldman was the first actual teenager to star in “Dear Evan Hanson,” and Jeanine Serralles played the title role in “Gloria.” Joshua Harmon’s previous plays include “Prayer for the French Republic” and “Significant Other.”

Extended by popular demand through May 11, “We Had a World,” which runs one hour, 40 minutes with no intermission, is at Manhattan Theatre Club’s Stage II at New York City Center.

Dissecting the “Snow White” Disaster

Mirror, mirror on the wall, what Disney movie flopped the hardest of them all?

There’s no point in ‘reviewing’ the live-action “Disney’s Snow White.” At the box-office, it’s a $270 million disaster – not including marketing – and it’s become a lightning rod against ‘Woke’ culture.

So, what went wrong?

In 1937, “Snow White and the Seven Dwarfs” launched Walt Disney’s animated empire. Even today, Disney executives work in a building adorned with statues of the Seven Dwarfs, and Disney Animation offices are nearby on Dopey Drive. The visually dazzling, morality tale revolved around a beleaguered, poisoned princess who was befriended by seven miniature miners and, in return, she swept and cleaned their home – until a handsome prince kissed this damsel-in-distress and they lived ‘happily ever after.’

Since the fairy tale specifically describes Snow White’s facial features as being ‘as white as snow,’ perhaps casting Rachel Zegler (“West Side Story”), a Latina actress of Colombian descent, wasn’t the brightest move but, given the Academy’s recent DEI imperative, it’s understandable.

Problem is: Gal Gadot is the Evil Queen who resents any comparison with Snow White. What? Gal Gadot was crowned Miss Israel in 2004 before she was cast as DC Comics’ superhero “Wonder Woman.” She’s gorgeous!

While it’s tempting to fault feisty, outspoken Rachel Zegler, who never misses a chance to proclaim “Free Palestine,” showing support for those who ignited the Oct. 7 terror attack in Israel, the blame for the basic creative decisions undermining this film rests with screenwriter Erin Cressida Wilson, director Marc Webb, producer Marc Platt and former Disney studio chairman Alan F. Horn.

Inevitably, the lilting “Someday My Prince Will Come” signature song was eliminated and replaced by “Waiting on a Wish,” written by EGOT-winning partners Benj Pasek and Staples alum Justin Paul, heralding female empowerment and self-sufficiency – as dictated by the creators’ liberal sexual/class politics.

My question is: If the traditional love story in the original Grimm fairy tale is truly objectionable by contemporary standards – why REMAKE it?

Does turning the Prince into a Robin Hood-like revolutionary (Andrew Burnap) make him a better companion for the fearless heroine?

As for being cared for by a septet of little men, this Snow White doesn’t praise and reward them; she berates them. Even depicting the “Heigh-Ho” dwarfs has become a fiasco. Back in 2022, actor Peter Dinklage, who has a form of dwarfism, criticized Disney for “still making that backward story about seven dwarfs living in a cave.”

Combining performance capture, puppetry and CGI, the 2025 photo-realistic results are just weird: as a result, Doc, Grumpy, Sleepy, Happy, Sneezy, Dopey and Bashful now resemble lawn gnomes.

If you’re still morbidly curious, I’d advise waiting until “Snow White” eventually streams on Disney+.

Catch up with Susan Granger’s latest reviews here:

• April 17: Broadway’s “Good Night, and Good Luck” and “1923” Season 2
• April 10: “White Lotus Season 3”
• April 8: “Theatre People”
• April 3: “The Picture of Dorian Gray” and “Apple Cider Vinegar”

Westport resident Susan Granger grew up in Hollywood, studied journalism with Pierre Salinger at Mills College and graduated from the University of Pennsylvania with highest honors in Journalism. In addition to writing for newspapers and magazines, she has appeared on radio and television as an anchorwoman and movie critic for many years. Read all her reviews at susangranger.com.