The Nap, by Richard Bean, at the Samuel J. Friedman Theatre, takes place in Sheffield, England, at the World Snooker Championship. A young player (Ben Schnetzer) is forced to lose Frame 4 in order for an illegal betting syndicate to win lots of money. An assortment of characters overact in this silly play directed by Daniel Sullivan. There is a transgender gangster, who mispronounces her words. There is a manager, who appears in each of his scenes, talking to foreign countries on his cellphone, without knowing where the countries are. There is a father, who uses profanity, especially the f... word, in nearly every sentence. There is an alcoholic mother with a smelly boyfriend. Lame jokes about films and celebrities are repeated ad nauseam. The scenic design, by David Rockwell, is impressive.
 

The New York City Ballet, at the David H. Koch Theater, presented a varied program of four ballets. Allegro Brillante, music by Peter Ilitch Tschaikovsky, choreography by George Balanchine, with piano solo by Elaine Chelton, is a joyful dance piece, with the always brilliant Sara Means. Her powerful performance never ceases to astonish me. She was supported by a fine Tyler Angle. Easy, music by Leonard Bernstein,  choreography by Justin Peck, was a disappointment. Fortunately, it was the shortest piece on the program. Carousel (A Dance), music by Richard Rodgers, choreography by Christopher Wheeldon, features the remarkable Tiler Peck, who appears to float on the stage. With the glorious music, she is a delight to watch. The highlight of the program was La Sylphide, music by Herman Severin Lovenskjold, choreography by August Bournonville, staged by Peter Martins. It is about a Sylph (Sterling Hyltin) who captivates a Scottish farmer (Joaquin De Luz), who pursues her into a forest, ending in tragedy for both of them. It is a charming ballet, and the two leads were marvelous. Daniel Capps conducted the orchestra.