Saying Farewell To Our TownYesterday, it was announced that the current Off-Broadway revival of
Thornton Wilder's classic
Our Town will close September 12, 2010.
David Cromer's stunning revival has been nothing short of transcendent stage entertainment since it first arrived in New York City from Chicago in February 2009. Prior to its present incarnation at Off-Broadway's intimate
Barrow Street Theatre in the West Village, Cromer first mounted
Our Town during
The Hypocrites' 2007-08 Season and then again from September 30 through October 26, 2008.
Once the production hit the Big Apple, the director became the toast of the town and the revival became an award-winning sensation.
Our Town began previews at Barrow Street on February 17, 2009, and then opened on February 26. Cromer would earn Obie and Lucille Lortel Awards for Outstanding Director, and the show itself would win the Lucille Lortel Award for Outstanding Production in 2009.
This past December 16, after playing its 337th performance, Cromer's
Our Town made theatre history by becoming the all-time longest running production of Wilder's enduring work.
Personally, I was absolutely blown away by the production when
I first saw it a year ago last spring. Its mesmerizing images still linger in my mind. As a result of seeing this version of
Our Town, a show that I admit to having long since dismissed after seeing it one too many times, I could not stop talking about how Cromer and his team had completely converted me to a believer in the play's unspoken charms. Seeing it also made me actively seek out other shows with Cromer at the helm.
On that point, there's another mind-blowing Cromer revival still playing in suburban Chicago. That's
A Streetcar Named Desire. If you're anywhere near Chicago,
you can't afford to miss this excellent production. Coincidentally, it too is set to close, in this case on August 12 after three extensions. Curiously, the production space at Glencoe's
Writers' Theatre is not unlike that at Barrow Street, and
high profile reviews would suggest that New York producers may have been contemplating a transfer, if not to Barrow Street, then to a venue very much like it. Personally, I would love to see
Streetcar take
Our Town's place.
Whatever the future holds for
Streetcar,
Our Town's life is drawing to an inevitable, yet celebratory close.
Helen Hunt will serve as the stage manager through Sunday, August 1 (I'll be in the audience for the Saturday matinee). On August 3,
Michael McKean will return to the role he first assumed earlier this spring. Then on August 24, David Cromer himself will usher out the show he brought to breathtaking life right through its September 12 closing.
Here's to
Our Town -- truly one of the
best and most innovative shows I've seen anywhere over the last ten years.
This is Steve On Broadway (SOB).
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.Labels: A Streetcar Named Desire, Chicago, David Cromer, Helen Hunt, Michael McKean, Off-Broadway, Our Town, Play, Revival, The Hypocrites, Thornton Wilder, Transfer
SOB's Best Of 2009-10: Top Ten Of The YearOver the last couple days, I've offered up my "Best Of" lists for each of the four major stage categories honored by the Tony Awards, including Best Musical Revivals, Best Play Revivals, Best New Musicals and Best New Plays.
Now, before this evening's Tony Awards are bestowed, here’s how the best of the best rank in my personal countdown of the “10 Best” theatrical productions I saw over the course of the 2009-10 Theatrical Season (ending April 30, 2010):
10 - A Streetcar Named DesireVenue: Harvey Theatre, Brooklyn Academy of Music, Brooklyn, New York
Top 10 Worthiness: Liv Ullmann's crackling revival of
Tennessee Williams'
A Streetcar Named Desire became a must-see event not only because it starred the magnificent
Cate Blanchett, but also because it so forthrightly showcased this classic work for what it is -- one of the best plays ever written.
Exceptional Standout Performance: Cate Blanchett
Status: Closed late 2010
SOB Review Rating: ***1/2 (out of ****)
9 - Fences
Venue: Cort Theatre, New York City, New York
Top 10 Worthiness: In
Kenny Leon's exceptional revival of
August Wilson's monumental
Fences,
Denzel Washington excels in delivering a solid line drive as former baseball player Troy Maxson -- once a player, always a player. Yet as Troy's wife Rose,
Viola Davis hits this one out of the park with the most extraordinary, heartwrenching performance of the year.
Exceptional Standout Performances: Denzel Washington and Viola Davis.
Status: Limited run through July 11, 2010
SOB Review Rating: ***1/2 (out of ****)
8 - The Full MontyVenue: McKnight Theatre, Theatre Latté Da, Ordway Center For The Performing Arts, St. Paul, Minnesota
Top 10 Worthiness: In one of those rarest of rarities,
Theater Latté Da's excellent and thoroughly enjoyable revival of
The Full Monty was actually much better than the Broadway original. Under
Peter Rothstein's exceptional, confident direction,
Terrence McNally's book and
David Yazbek's underrated score became even more salient, all the more emotionally gripping and certainly more entertaining today.
Exceptional Standout Performances: Wendy Lehr and
Randy SchmelingStatus: Closed last fall after limited run
SOB Review Rating: **** (out of ****)
7 - Brighton Beach Memoirs
Venue: Nederlander Theatre, New York City, New York
Top 10 Worthiness: Nothing could have prepared me for the earnest and devastating charms found in
Neil Simon's superb
Brighton Beach Memoirs. This semi-autobiographical period piece received an excellent (though sadly short-lived) Broadway revival, flawlessly executed by director
David Cromer. Through
Brighton Beach Memoirs, Cromer further burnished his credentials as a brilliant, visionary master at breathing vigorous new life into classic material.
Exceptional Standout Performances: Laurie Metcalf,
Noah Robbins and
Santino FontanaStatus: Closed last fall the Sunday after it opened
SOB Review Rating: **** (out of ****)
6 - Superior Donuts Venue: Music Box Theatre, New York City, New York
Top 10 Worthiness: Tracy Letts' tasty and satisfying
Superior Donuts may have appeared on my list last year, but since he and director
Tina Landau further sharpened this dramatic comedy for its Broadway bow, the play once again earns its place on my list.
Superior Donuts ostensibly left its audience with hope and an entreaty to wake up to the world around us, give a damn and take a stand.
Exceptional Standout Performances: Michael McKean and
Jon Michael HillStatus: Closed at the beginning of this year
SOB Review Rating: **** (out of ****)
5 - Twelfth NightVenue: Delacorte Theatre, Central Park, New York City, New York
Top 10 Worthiness: Love was in the air, and that breeze blowing straight through Central Park was
William Shakespeare's
Twelfth Night.
Daniel Sullivan’s gorgeous gender-bending revival was brimming with bawdy charms and an extraordinary ensemble. I walked out of Central Park both enthralled and enchanted.
Exceptional Standout Performances: Anne Hathaway,
Raúl Esparza,
Audra MacDonald and
David PittuStatus: Closed last summer after limited run
SOB Review Rating: **** (out of ****)
4 - The Brother / Sister Plays
Venue: Upstairs Theatre, Steppenwolf, Chicago, Illinois
Top 10 Worthiness: The Brother / Sister Plays,
Tarell Alvin McCraney's excellent and deeply poetic trilogy, cast an unusally enthralling spell over me through its lyrical power. Standing as a towering achievement, not only for the incredibly young yet wise-beyond-his-years playwright, but also for its outstanding ensemble,
The Brother / Sister Plays may ultimately prove to be the most important new work of this new decade.
Exceptional Standout Performances: K. Todd Freeman and
Alana ArenasStatus: Closed this spring after limited run
SOB Review Rating: **** (out of ****)
3 - RuinedVenue: New York City Center Stage I
Top 10 Worthiness: What playwright
Lynn Nottage and director
Kate Whoriskey have achieved with the heartstopping and excellent
Ruined was nothing short of monumental. They skillfully succeeded in placing many a human face on those who are grossly dehumanized, even if it ranks as one of the most difficult plays I ever sat through.
Exceptional Standout Performances: Portia,
Quincy Tyler Bernstine and
Russell G. JonesStatus: Closed last summer after multiple extensions
SOB Review Rating: **** (out of ****)
2 - RedVenue: John Golden Theatre, New York City, New York
Top 10 Worthiness: John Logan's magnificent
Red, masterfully directed by
Michael Grandage, has forever changed how I'll view abstract art, particularly that of artist
Mark Rothko. A modern-day masterpiece imported directly from London's
Donmar Warehouse,
Red intrigues and titillates the senses with its potent examination of the internal conflicts Rothko may have endured.
Exceptional Standout Performances: Alfred Molina and
Eddie RedmayneStatus: Limited run scheduled through June 27, 2010
SOB Review Rating: **** (out of ****)
1 - Brief EncounterVenue: McGuire Proscenium, Guthrie, Minne-apolis, Minnesota
Top 10 Worthiness: The all too
Brief Encounter stands out as the most magnificent entertainment production I saw anywhere this year.
As its conceit, director
Emma Rice ingeniously builds on the precepts from the Oscar-nominated
1945 motion picture written by
Noël Coward about two married individuals who enjoy a chance meeting in a train station only to find themselves swept away in a mad love affair. Silver screen images are shown on the stage, but it's seemlessly brought to life with a captivating fusion with live theatre. Topping off this delectable treat is a perfect blend of music from the era that breaks the fourth wall.
To say much more beyond this doesn't seem fair because this excellent production has to be seen to be believed and fully appreciated. But I'll add one more thing. It took
Brief Encounter's spellbinding trip back in time to catch a glimpse of the future in entertainment and the integral role projection designs -- like those offered here by
Gemma Carrington and
Jon Driscoll to mesmerizing, dramatic effect -- can have in stage productions.
Fortunately, Broadway
audiences will have their chance this fall to encounter this excellent work that defies description. And don't be surprised if there's further call for a new Tony Award category to be created for Best Projection Design. It's an element that's here to stay.
Exceptional Standout Performances: Hannah Yelland and
Milo TwomeyStatus: Closed in April after limited run. Production will be mounted this fall at Broadway's Studio 54
SOB Review Rating: **** (out of ****)
What shows would be on your top ten list? Do you think I've completely missed the boat, or would your choices largely mirror mine?
I invite you to join the discussion and post your comments here.
This is Steve On Broadway (SOB).
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.Labels: A Streetcar Named Desire, Brief Encounter, Brighton Beach Memoirs, Fences, Red, Ruined, SOB's Best of 2009-10, Superior Donuts, The Brother/Sister Plays, The Full Monty, Twelfth Night
SOB's Best Of 2009-10: Best Play RevivalsDuring the 2009-10 Theatrical Season, I've had the opportunity to see over 80 performances of a wide range of new and revived musicals and plays, as well as other theatrical events.
Unlike this past year's selection of musicals, the plays were once again "the thing." That included a terrific array of play revivals on Broadway as well as other venues near and far.
So, without further ado, here is my list of the "5 Best Play Revivals" over the 12 months ending April 30, 2010:
5 - American Buffalo (Downstairs Theatre, Steppenwolf, Chicago, Illinois)
Director
Amy Morton’s retro-cool revival of
David Mamet's
American Buffalo was a veritable feast for the senses. This
Steppenwolf production succeeded in spades.
Steppenwolf ensemble members
Francis Guinan as Don and
Tracy Letts as Teach were both in prime (and even primal) form. Even while practically chewing the scenery, Letts found all the subtle shadings of this most shady character while Guinan offered such an amazing air of authenticity that you could practically smell him from your seat.
4 - A Streetcar Named Desire (Harvey Theatre, Brooklyn Academy Of Music, Brooklyn, New York)
The hottest ticket in New York last year was actually over in Brooklyn. And with good reason. Director (and onetime actress)
Liv Ullmann mounted a crackling revival of
Tennessee Williams'
A Streetcar Named Desire. By that, I mean one that expertly found each of the fissures and cracks in Blanche DuBois, arguably Williams' most artfully drawn character.
The revival became a must-see event not only because it starred the magnificent
Cate Blanchett, but also because it so forthrightly showcased this classic work for what it is -- one of the best plays ever written. As Blanche DuBois, the superbly luminescent Blanchett offered a remarkably balanced portrayal that evenly teetered from one extreme to the other. Unafraid to embrace Blanche's sensually needy side, Blanchett demonstrated that there was still plenty of rouge left in this faded rose, even amidst the thorns that were so painfully evoked.
3 - Fences (Cort Theatre, New York City, New York)
It may be
Denzel Washington's name above the title in
Kenny Leon's exceptional, if exhausting, revival of
August Wilson's monumental
Fences. Yet it's
Viola Davis' name you'll be praising long after exiting Broadway's
Cort Theatre. Make no mistake, Washington excels in delivering a solid line drive as Troy Maxson, a former Negro League baseball player with a wandering eye.
But as Troy's wife Rose, Viola Davis hits this one out of the park with the most extraordinary, heartwrenching performance of the year. It's a grand slam, even in a play that feels like it's never going to end. It's a credit to Leon and Davis that we almost don't want it to.
2 -Brighton Beach Memoirs (Nederlander Theatre, New York City, New York)
I wasn't prepared to be this astonished. Nothing could have prepared me for the earnest and devastating charms found in
Neil Simon's superb
Brighton Beach Memoirs. This semi-autobiographical period piece received an excellent (though sadly short-lived) Broadway revival, flawlessly executed by director
David Cromer. Through
Brighton Beach Memoirs, Cromer further burnished his credentials as a brilliant, visionary master at breathing vigorous new life into classic material.
An exuberant
Noah Robbins made an impressive Broadway debut as Eugene Jerome, Simon's young alter-ego. With winsome appeal, Robbins captivated and enthralled. And as outstanding as he and the rest of the ensemble were,
Laurie Metcalf was an unmitigated, complete triumph as Eugene's mother Kate. Without ever overshadowing the rest of the cast, Metcalf delivered one of the year's most withering, nuanced performances. Simply put, Metcalf was amazing in this outstanding revival.
1 - Twelfth Night (Delacorte Theatre, Central Park, New York City, New York)
Love was in the air, and that breeze blowing straight through Central Park was
William Shakespeare's
Twelfth Night.
Daniel Sullivan’s lovely, gorgeous revival was brimming with bawdy charms and an extraordinary ensemble, including
Raúl Esparza as Orsino,
Audra MacDonald as Olivia,
Julie White as her attendant,
Michael Cumpsty as Malvolio and that consummate scene-stealer
David Pittu as Feste.
Was it any wonder that rain or shine, this was a formidable mounting with which to be reckoned and revered? Add to that mix film actress
Anne Hathaway’s mesmerizing turn as Viola, and those lucky enough to get tickets witnessed a wondrous new theatre queen being born. I walked out of Central Park both enthralled and enchanted.
So what were the best new revivals of plays
you saw over the past year? I invite you to join the conversation by sharing your theatre experiences with me.
This is Steve On Broadway (SOB).
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.Labels: A Streetcar Named Desire, American Buffalo, Best Revival of Plays, Brighton Beach Memoirs, Fences, Play, SOB's Best of 2009-10, Twelfth Night
A Streetcar Named Desire (The SOB Review) - 325 Tudor Court Theatre, Writers' Theatre, Glencoe, Illinois
**** (out of ****)
Genius. Pure, unequivocal genius.
In an absolutely enthralling yet haunting revival of
Tennesee Williams' 63-year old
A Streetcar Named Desire, director
David Cromer has done it again.
Once again, as in his
Our Town and
Brighton Beach Memoirs, Cromer has carefully pulled back the cover on what we know about an enduring stage classic. In doing so, he's expertly pinpointed its deepest emotional core with exacting precision. The revelations, even for someone who's seen the work countless times before, are at once astounding and exhilarating.
As with those two other works, he has shrewdly reassembled this masterpiece to perfection. The result here is
A Streetcar that ingeniously illuminates Blanche duBois' desires and repulsions, often at the very same moment. It is a rare production that sends chills tingling through my body once, let alone in spades the way this exciting revival has done. I had goosebumps from near the top of the second act right through its heartwrenching conclusion.
Cromer's vision in mounting this work is aided tremendously by the incredibly intimate
Writers' Theatre space itself, with audience completely encircling the stage, which
Collette Pollard has marvelously designed to evoke the smallish New Orleans home of Stanley (a magnificent
Matt Hawkins) and Stella Kowalski (a stellar
Stacy Stoltz). While fellow patrons for this theatrical event sit opposite you across the stage, they merely blend into the Kowalskis' invisible wallpaper as it becomes nearly impossible to take your eyes away from the acting brilliance unfolding before your eyes.
In fact, if this
Streetcar were any more accessible, the audience would be sitting in the Kowalskis' two-story home with the cast. Never before has this play seemed more genuine or real. And there's not a weak member to be found among this outstanding ensemble.
Natasha Lowe provides the ultimate incandescent performance as Blanche, whose past hangs more vividly than a specter over her pretense. In Lowe, nuance knows no bounds as her Blanche completely captivates, particularly when disclosing to her potential paramour Mitch (the gentle, affecting
Danny McCarthy) how her last real relationship abruptly came to its end (bravo here to
Heather Gilbert for her subtle and masterful lighting design). It's the first of many harrowing discoveries that took my breath away as no other previous revival I've seen.
Speaking of nuance, Hawkins and Stoltz add significant shades of depth to Stanley and Stella, respectively. Hawkins' electrifying performance humanizes Stanley to the point where you reconsider everything you've ever thought about his boorish behavior. As Stella, Stoltz more than holds her own, becoming more than just a mere pawn in the battle between her husband and sister.
If there's such a thing as
beyond excellent, this
A Streetcar Named Desire is it. Do whatever you can to get to Glencoe, Illinois, prior to July 11 to see this classic as you've never seen it before.
This is Steve On Broadway (SOB).
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.Labels: A Streetcar Named Desire, Chicago, Danny McCarthy, David Cromer, Matt Hawkins, Natasha Lowe, Play, Revival, Stacy Stoltz, Tennessee Williams, The SOB Review, Writers' Theatre
A Streetcar Named Desire (The SOB Review) - Harvey Theatre, Brooklyn Academy of Music, Brooklyn, New York
***1/2 (out of ****) The hottest ticket in New York right now is for a little show over in Brooklyn. And with good reason.
Director (and onetime actress)
Liv Ullmann is mounting a crackling revival of
Tennessee Williams'
A Streetcar Named Desire. By that, I mean one that expertly finds each of the fissures and cracks in Blanche DuBois, arguably Williams' most artfully drawn character.
The revival becomes a must-see event not only because it stars the magnificent
Cate Blanchett, indisputably one of the world's greatest living actresses, but also because it so forthrightly showcases this classic work for what it is -- one of the best plays ever written.
As Blanche DuBois, the superbly luminescent Blanchett leads a strong cast that includes fellow
Sydney Theatre Company ensemble members
Joel Edgerton as her menacing brother-in-law Stanley, and
Robin McLeavy as Blanche's doormat of a sister Stella.
But at its center, this play is all about that unbalanced woman in the middle named Blanche, and Blanchett offers a remarkably balanced portrayal that evenly teeters from one extreme to the other. Unafraid to embrace Blanche's sensually needy side, Blanchett demonstrates that there's still plenty of red left in this faded rose. Yet the thorns are also very evident.
There's a reason why New Yorkers are using every conceivable mode of transportation to witness this
Streetcar. Ullmann's import from the Sydney Theatre Company makes Williams' work both fresh and vital. No wonder
there are the beginnings of a clang, clang, clang to bring this to Broadway. Whether Brooklyn remains its final stop remains to be seen.
This is Steve On Broadway (SOB).
Labels: A Streetcar Named Desire, Brooklyn, Cate Blanchett, Joel Edgerton, Liv Ullmann, Off-Broadway, Play, Revival, Robin McLeavy, Sydney Theatre Company, Tennessee Williams, The SOB Review
