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
American Buffalo (The SOB Review) – Downstairs Theatre, Steppenwolf, Chicago, Illinois
***1/2 (out of ****)
Admittedly, playwright
David Mamet’s works are an acquired taste. But having acquired that taste long ago, I found
Amy Morton’s retro-cool revival of his
American Buffalo a veritable feast.
Not every actor possesses the required panache to effectively deliver Mamet’s rat-a-tat-tat, back-and-forth give and take.
American Buffalo certainly has its share of the playwright’s coarse trademark language. It requires absolute, unmistakable precision in order to succeed. Make no mistake, this
Steppenwolf production succeeds in spades.
Fortunately in this tale of amateurs planning a heist of one very expensive nickel, Morton is directing a trio of genuine pros. Steppenwolf ensemble members
Francis Guinan as Don and
Tracy Letts as Teach are both in prime (and even primal) form, while relative newcomer
Patrick Andrews more than holds his own as the dim Bob.
From 2001-2007, you almost could not see a Steppenwolf production without witnessing Letts’ personal metamorphoses, losing himself completely in each dramatically different role. Despite a two and a half year absence from being on stage, Letts never misses a beat and brilliantly masters Mamet’s rat-a-tat-tat banter. He finds all the subtle shadings of this most shady character -- enough, that you can’t help but feel a twinge of regret for Teach during his pivotal moment of truth in the second act.
These days at Steppenwolf, it’s Guinan who’s in practically every Steppenwolf production. Like Letts, this exceptional ensemble player lends such an amazing air of authenticity, including here, that you can practically smell him from your seat. No wonder Guinan has been Steppenwolf’s go-to-guy in recent years. He’s just that great.
In his first Steppenwolf role -- which is unlikely to be is last -- young Andrews goes toe-to-toe with Letts and Guinan. He delivers his own nuanced performance that’s a revelation.
While
American Buffalo is strictly a three-hander, another star of the production is Kevin Depinet’s ingenious scenic design, perfectly capturing Don’s junk dealer shop. And you have to give props to the prop master, for without those perfectly placed props, watching Letts’ second act meltdown certainly would not have had the same visceral punch. Letts doesn’t so much as chew the scenery as much as he begins to physically destroy some of it.
Regrettably, I have no idea how well-acted the recent Broadway revival of Mamet’s play was just two short years ago, missing it due to its premature closing. But after devouring every last, tasty morsel of Steppenwolf’s
American Buffalo with relish, it’s hard to imagine any other version being more satisfying.
This one is worth every pretty penny.
This is Steve On Broadway (SOB).
In keeping with the new 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. I paid my own way for this performance.Labels: American Buffalo, Amy Morton, David Mamet, Francis Guinan, Patrick Andrews, Play, Revival, Steppenwolf, Tracy Letts
My Five Cents On American BuffaloYesterday,
I took note of the regularity with which
David Mamet plays have been mounted on Broadway over the past five years. Add to that his upcoming
Race and you have a total of six shows, old and new, that will have been staged on the Main Stem during that time.
Easily the
least successful of the first five was the
2008 revival of
American Buffalo, which closed last November 24 after only eight regular performances. And it wasn't for lack of star power, either. With
Robert Falls at the helm, that "
deflated" incarnation featured
John Leguizamo,
Cedric the Entertainer and
Haley Joel Osment. Unfortunately for the production,
reviews ran from mixed to complete pans.
Without looking backwards, Chicago's
Steppenwolf is seeking to salvage this play's reputation by
returning it to the Windy City where it was
first produced 34 years ago by the venerable
Goodman Theatre.
Proving that she's really running things now is estimable actress, director and Steppenwolf Ensemble member
Amy Morton. While New York audiences may only know her for her dramatic chops, she's a force at the helm as well, as she demonstrated again just a year ago in directing Steppenwolf's acclaimed production of
Conor McPherson's
Dublin Carol.
Equally impressive is her cast, which includes
Tracy Letts and
Francis Guinan, along with an accomplished young actor named
Patrick Andrews.
This marks Tracy Letts' return to the boards after a two and a half year absence during which a little show called
August: Osage County rocked the theatre establishment and cemented his reputation as a powerful playwright. I would argue that to fully appreciate Letts, you must witness his astounding talent
on-stage as well as off. He's that good.
Then there's Fran Guinan, who is without a doubt,
one of the most gifted contemporary actors in Chicago or anywhere else. While Broadway audiences will fondly recall his Charlie Aiken as the only
August: Osage County character displaying any real heart, Chicago audiences have come to revere him for his breathtaking versatility in playing everyone from Colonel Sanders to Johnny Walker to Arthur Conan Doyle.
The enormous range and capabilities of the Morton/Letts/Guinan triumvirate are making this
American Buffalo the one show of the year I've been waiting for most. Something tells me that it will definitely be well worth the coin.
American Buffalo begins previews at Steppenwolf's Downstairs Theatre on December 3 and opens December 13. I'll be there for its opening and will have a full report shortly thereafter.
This is Steve On Broadway (SOB).
Labels: American Buffalo, Amy Morton, David Mamet, Francis Guinan, Steppenwolf, Tracy Letts
Unless Public Bison Tix, American Buffalo Will Close TodayFirst came the spate of
bad reviews.
Then
word got out on Friday that either ticket sales had to pick up
immediately or the new Broadway revival of
David Mamet’s
American Buffalo would close today, although the
final announcement won't come until tomorrow.
Playbill reports that Telecharge was only selling tickets for performances through today, and it quotes producer
Ben Sprecher as saying that a "provisional" closing notice was posted November 19:
If the box office doesn't drastically improve, American Buffalo will play its final performance on Sunday... If ticket sales spurt dramatically, I'll be glad to extend the show.
Don't bet any wooden nickels that the latter will occur.
The
Robert Falls-helmed production stars
John Leguizamo,
Cedric the Entertainer and
Haley Joel Osment. If the show is indeed concluding today, it will have played just nine regular performances.
For die-hard Mamet fans, there's always the
more favorably reviewed Broadway revival of
Speed-The-Plow to carry you through.
UPDATE (11/24/08, 12:05 p.m.): While I have not seen official notice anywhere else, the
American Buffalo Web site indicates that yesterday's performance was indeed the last.
This is Steve On Broadway (SOB).
Labels: American Buffalo, Cedric the Entertainer, Closing Notices, David Mamet, Haley Joel Osment, John Leguizamo, Play, Revival, Robert Falls
Critics Don't Give A Dime About American Buffalo RevivalLast evening, the second Broadway revival for
David Mamet’s
American Buffalo enjoyed a rare Monday evening opening at the
Belasco Theatre. Helmed by
Robert Falls, the production stars
John Leguizamo,
Cedric the Entertainer and
Haley Joel Osment. Critics were largely disappointed.
Deeming the revival "enjoyable if not revelatory,"
Newsday's
Linda Winer provides a mixed assessment: "[T]his one has an exhilarating performance by John Leguizamo, who careens off Mamet's essence with a joy I missed in the oddly constricted
Plow. Robert Falls, the Chicago-based director who exploded expectations from the inside in recent smashing revivals ... isn't blowing the lid off Mamet tradition in this straightforward production.... Do we need another
American Buffalo in a season bereft of new plays? Of course not. Is it good to have it back? Sure."
Branding it a "deflated revival,"
Ben Brantley of The New York Times clearly believes the production's talent wasn't up to the Mamet task: "In the latest version of
American Buffalo, the words feel too limp to stick together, and each character seems to have a different mother tongue. This is a resounding disappointment, given the talent of those involved.... The rhythms of this production are those of a sitcom, with lots of empty space between lines to let audiences fully register jokes and outlandish figures of speech. Such an approach saps the strength of
American Buffalo.... Nobody appears desperate here. Well, not the characters, anyway; the actors are another matter."
Taking note that "If the F-word really were an F-bomb, there would be nothing left of Times Square," Bloomberg's
John Simon says that the sum doesn't equal the parts: "The play is skillfully directed by Robert Falls, who has choreographed some arresting movements and imposed fascinating changes in tempo and dynamics. The actors squeeze everything possible out of their parts, Cedric, for example, managing to say 'No' in peculiarly layered ways. There is even a vocal trio in the interplay of Cedric’s rumbling bass, Leguizamo’s whining, high-pitched tenor and Osment’s overeager or anxious countertenor. But put it all together and it spells blather of the peculiarly Mametian brand, in which obscenity and scatology sprout like mushrooms in damp, shady ground. Cut out the foulmouthed verbiage and the play would be appreciably shorter but hardly better. It might even lose what specious colorfulness it has."
Lamenting that the revival "sits so flatly on its impressive self,"
Variety's
David Rooney also joins the chorus of critics wondering what happened: "Robert Falls' production drains much of the humor, urgency and anxiety from the piece, letting it amble along like an inflated actors' exercise in sustaining atmosphere without action.... Falls has proven himself repeatedly to be an exceptional director with actors. But while he gets capable work out of all three cast members on the surface, his naturalistic approach is not suited to Mamet's muscularly theatrical language. The actors too rarely get under their characters' skins to expose the bitter insecurity lurking there.... Dynamic as he is, Leguizamo's flashy tricks are part of the problem."
Concluding that this revival "rarely succeeds,"
Joe Dziemianowicz of New York's
Daily News offers just two out of five stars: "Despite a starry cast of John Leguizamo, Haley Joel Osment and Cedric the Entertainer, who's miscast, the tepid two-hour two-act, directed by Robert Falls, makes the story seem very slight, with all the danger and combustibility of a book of soggy matches.... Leguizamo makes the character his own with a one-two wallop of scary-funny. He's constantly compelling as he roams nervously, grabs his crotch for emphasis and unleashes X-rated torrents.... Though he's an appealing actor, Cedric the Entertainer is so sitcom-cuddly and cute, he simply lacks the needed edge to convince as Don."
Asking, "Just how many f - - - ing David Mamet revivals do we need this season
?" New York Post's
Barbara Hoffman (does anyone know how Clive Barnes is, other than "on leave"???) awards just two out of four stars: "
American Buffalo has all the profanity and none of the poetry. As directed by the usually estimable Robert Falls, with John Leguizamo, Cedric the Entertainer and Haley Joel Osment, it's flatter than a cow plop.... Cedric is a solid, almost fatherly Don who makes the most of the show's genuinely funny moments -- miming, say, the back end of a sexy bicyclist -- though he rolls his eyes a few times too many. And Osment, also new to Broadway, makes a touchingly vulnerable Bobby in a role that doesn't grow much. (This time, he sees bored people.)"
So there you have it folks.
One Mamet revival receiving
generally solid notices, followed by this one that reeks of critical disappointment. Interesting to note that the former is the one that had scheduled a limited run. Wonder if the team associated with the latter is rethinking their plans?
This is Steve On Broadway (SOB).
Labels: American Buffalo, Broadway, Cedric the Entertainer, Critics' Capsule, David Mamet, Haley Joel Osment, John Leguizamo, Play, Revival, Robert Falls, Speed-The-Plow
Broadway Gets Nickeled (Not Dimed) Tonight As American Buffalo Revival OpensThis evening, the second Great White Way revival of
David Mamet’s seminal play
American Buffalo opens at the
Belasco Theatre.
With two-time Tony winning director
Robert Falls at the helm, the play stars
John Leguizamo as Walter Cole,
Cedric the Entertainer as Donny Dubrow, and
Haley Joel Osment as Bobby. The
American Buffalo revival marks the Broadway debuts for both Messrs. Kyle (a/k/a "the Entertainer") and Osment.
American Buffalo, of course, is the second Mamet revival currently performing on Broadway, with the limited run of
Speed-The-Plow having opened just last month to
primarily good reviews.
Will critics be ready to toast this one as well? Find out tomorrow as I provide my regular critics' capsule.
This is Steve On Broadway (SOB).
Labels: American Buffalo, Broadway, Cedric the Entertainer, David Mamet, Haley Joel Osment, John Leguizamo, Play, Revival, Robert Falls, Speed-The-Plow
When Stage Classics Tread Broadway Boards AgainTo see, or not to see?
That is my question for you dear readers, particularly as so many stage classics are once again treading across the boards of the Great White Way this year. I'm curious to know whether you rent a film version DVD of plays to thoroughly familiarize yourself with the show in advance or do you prefer being completely surprised?
Among the revivals that will treading the boards this season:
All My Sons - the
original 1947 production was the basis for the
1948 film.
A Man For All Seasons - the
original 1961 production was the basis for the Academy Award-winning
Best Film of 1966.
American Buffalo - the
original production was the basis for the
1996 film.
Pal Joey - the
1951 revival was the basis for the
1957 film.
West Side Story - the
original 1957 production was the basis for the Academy Award-winning
Best Film of 1961.
One revival that will be trotting across is
Equus, starring
Richard Griffiths and
Daniel Radcliffe. By the time the
original 1974 production closed in 1977, the
film version was just opening in cinemas.
While I've long been familiar with the general, disturbing themes of
Equus, I have never seen it. Nor had ever seen the silver screen incarnation -- that is, until this past weekend.
I decided I wanted to see the movie for a couple reasons. First, since the play is set in England, I wanted to be sure I could thoroughly understand the dialogue in the event that heavy accents might be employed during its Broadway run. Second, since I didn't want to be shocked by the content when I finally see the show later this month, I decided viewing the flick would be the surest way to avoid that. But in the process, I've sacrificed letting a plot naturally unfold before my eyes for the very first time.
So I ask you, dear readers, if you've never seen either the stage or film versions of a show you intend to see performed live, do you rent the movie first? And why or why not?
This is Steve On Broadway (SOB).
Labels: A Man For All Seasons, All My Sons, American Buffalo, Broadway, Equus, Musical, Pal Joey, Play, Revival, West Side Story
Broadway Preview: American BuffaloJust when you may have thought this fall’s portion of Broadway’s 2008-09 Theatre Season could not have become any more packed -- especially with word that a planned revival of
Brigadoon has been
postponed due to
lack of available theatre space -- comes word that
David Mamet’s seminal play
American Buffalo will be revived on a Rialto stage for the second time, albeit with no theatre selected.
Contributing toward a bit of a Mamet renaissance, this will mark the second revival for one of his works during the current Theatrical Season alongside the previously announced
Speed-The-Plow. A three-hander story of a hatched heist,
American Buffalo was initially produced nearly 33 years ago at Chicago’s
Goodman Theatre. In a bit of serendipity, that Windy City venue’s
current artistic director
Robert Falls -- a Tony winner in his own right for 1999’s
Death Of A Salesman -- will reportedly helm the upcoming revival.
First directed on Broadway by Tony-nominated
Ulu Grosbard back in 1977,
American Buffalo then starred
Robert Duvall as Walter Cole (a/k/a "Teacher"), the late
Kenneth McMillan as Donny Dubrow and
John Savage as Bobby. That production earned two Tony nominations and enjoyed 122 performances, first at the
Ethel Barrymore Theatre and subsequently at the
Belasco Theatre.
Six short years later in 1983, the
first revival was helmed by
Arvin Brown at the
Booth Theatre.
Al Pacino headlined as Walter Cole, while the late
James Hayden initiated the role of Bobby and
J. J. Johnston played Donny Dubrow. This production made headlines when Hayden tragically died of a drug overdose shortly into the run. Nominated for the 1984 Tony for Best Reproduction, the play enjoyed a total of 93 performances before closing in February 1984.
According to Playbill, the latest incarnation will include
John Leguizamo as Walter Cole, and producers have their sights set on landing comedian
Cedric the Entertainer to portray Donny Dubrow. I’ve previously marveled at Leguizamo’s versatility on film (although I confess to not caring much for his one-man performance
Sexaholix back in 2001). However, I’m a bit stunned by the hoped-for casting of Cedric the Entertainer. Sure, he's a very funny comic, but does he have the dramatic chops needed for the stage?
Dear readers, please tell me what you see that I’m not getting.
This is Steve On Broadway (SOB).
Related Stories:Broadway Preview: Popcorn (July 28, 2008)
Broadway Preview: West Side Story (July 24, 2008)
Broadway Preview: 9 To 5 (July 16, 2008)
Broadway Preview: Mary Stuart (July 15, 2008)
Broadway Preview: The American Plan (July 14, 2008)
Broadway Preview: Shrek The Musical (July 13, 2008)
Broadway Preview: Waiting For Godot (July 12, 2008)
Broadway Preview: Pal Joey (July 11, 2008)
Broadway Preview: Dividing The Estate (July 10, 2008)
Broadway Preview: 13 (July 9, 2008)
Broadway Preview: Speed-The-Plow (July 8, 2008)
Broadway Preview: Billy Elliot - The Musical (July 7, 2008)
Broadway Preview: Godspell (July 6, 2008)
Broadway Preview: All My Sons (July 5, 2008)
Broadway Preview: A Man For All Seasons (July 3, 2008)
Broadway Preview: To Be Or Not To Be (July 2, 2008)
Broadway Preview: The Seagull (July 1, 2008)
Broadway Preview: Equus (June 30, 2008)
Broadway Preview: A Tale Of Two Cities (June 28, 2008)
Broadway Preview: for colored girls who have considered suicide when the rainbow is enuf (June 25, 2008)
Broadway Preview: [title of show] (June 24, 2008)
Broadway: What's Next (June 20, 2008)
Labels: American Buffalo, Broadway, Cedric the Entertainer, David Mamet, John Leguizamo, Play, Revival, Robert Falls
