Whom Would You Cast In August: Osage County Film?
It's already been over two years since
Variety first confirmed that Letts was revisiting his work by writing the screenplay.
Fantasy casting for the big screen version of the work began more than a half year earlier.
As for me, if
Deanna Dunagan and
Amy Morton aren't going to be cast, I can think of no other actress more capable of delivering Violet than Meryl Streep, who is perhaps
the greatest living actress on the planet. Julia Roberts may be the world's biggest movie star, but I'm not entirely convinced she has the chops to take on Barbara. If she is cast, I hope to be proven wrong.
Additionally, I'm still holding out hope that the film version, to be directed by
John Wells, will include at least a couple of the original cast members from
Steppenwolf. My top choice?
Rondi Reed to recreate her Tony-winning turn as Aunt Mattie Fae Aiken.
It's your turn to weigh in on whom you'd cast. Whom do you believe should round out this dysfunctional family in a movie theater near you? (My friend Kevin Daly of
Theatre Aficionado At Large has already weighed in
here.)
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: Amy Morton, August Osage County, Casting, Chris Jones, Deanna Dunagan, Fantasy Casting, Film, Julia Roberts, Meryl Streep, Rondi Reed, Steppenwolf, Tracy Letts
Which Original Cast Do You Wish You Could See?On Thursday,
I wrote about some of the extraordinary replacements I've had the pleasure of seeing on Broadway, including those who have superseded the original cast members.
But I concluded my post by discussing
August: Osage County and the superlative performances offered by both
Deanna Dunagan and
Rondi Reed. I noted how no other actresses I've personally had the pleasure of seeing in the roles the Dunagan and Reed created could surpass the originals.
It's at that point that I'd like to pick up.
Back in the summer of 2009, immediately after
I first wrote how Australia's
Sydney Theatre Company (STC) would import
August: Osage County for audiences Down Under, I heard from more than one Aussie friend about their deep-seeded resentment toward the STC. They were angry that the STC would dare to overlook the
2009 mounting offered by the
Melbourne Theatre Company (the first production of
Tracy Letts' excellent play to be mounted in Australia) or at least produce its own version using Australian actors and crew.
To those friends, I countered, "Regardless of where the production originated, wouldn't you prefer -- or at least be curious to see -- the actors for whom the playwright originally envisioned the roles performing the work?" I can certainly appreciate the legitimate desire to keep Australian actors working, but it is a rare opportunity to see most of the original cast perform, isn't it? Isn't there something innately magical about experiencing a production as originally intended, replete with nuances that subsequent productions inherently fail to replicate?
If I had the opportunity to go back in time to see any Broadway show with its original cast, I'd relish the chance.
I can only dream about how incredible it would be to have seen
Ethel Merman perform as Rose in
Gypsy or as Annie Oakley in
Annie Get Your Gun, to have swooned over
Chita Rivera as Anita in
West Side Story or alongside
Gwen Verdon in
Chicago, to have marveled at
Lee J. Cobb as Willy Loman in the original
Death Of A Salesman, or to have witnessed
Uta Hagen opposite
Arthur Hill in the first production of
Who's Afraid Of Virginia Woolf?So, dear readers, if you had your chance to go back in time to see the first production of any theatrical work with its original cast, what would it be?
Also, please vote in the poll below.
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: Arthur Hill, August Osage County, Australia, Broadway, Chita Rivera, Deanna Dunagan, Ethel Merman, Gwen Verdon, Lee J. Cobb, Original Cast Members, Replacements, Rondi Reed, Uta Hagen
Second Verse, Better Than The FirstTwo nights ago, I had a fabulously ridiculous dream.
In it, I was seeing a Broadway show alongside
The New York Times' critics
Ben Brantley and
Charles Isherwood, two men I've never met in person, but have certainly observed. It was a bizarre dream to be sure, especially since much like the rest of last season, I found myself disagreeing with Isherwood's assessment of the show, but agreeing with Brantley's (fortunately in this phantasm, the Gray Lady's
senior critic was responsible for writing the review).
Imagine my delight upon waking to find myself
agreeing with Isherwood regarding his
excellent assessment of replacement casts.
In particular, I could not agree with him more that
A Little Night Music constitutes the "must-see" production this summer. It's been positively transformed, largely on the heartstopping performance of
Bernadette Peters. So transformative was her rendition of "Send In The Clowns" that you could hear a pin drop as she delivered it.
Having also seen Peters and her replacement
Reba McEntire in the most recent Broadway revival of
Annie Get Your Gun, I have to admit to concurring with his assessment that McEntire's performance eclipsed that of the tried-and-true Broadway Baby she replaced. I enjoyed Bernadette Peters in the title role, but the scrappy McEntire was born to play Annie Oakley. It is rather ironic that until I saw Peters as Desiree Armfeldt, Reba McEntire was my favorite Broadway replacement I ever had the thrill of seeing.
Additional props to Isherwood not only for discussing how truly disappointing the successors to
Nathan Lane and
Matthew Broderick were in
The Producers, but also for mentioning the fine replacements
Jonathan Pryce and
Estelle Parsons made for
John Lithgow (
Dirty Rotten Scoundrels) and
Deanna Dunagan (
August: Osage County), respectively. While I thought Pryce's sophisticated delivery of the con artist Lawrence was an improvement over Lithgow, I'm convinced after
beholding Dunagan perform as Violet Weston yet again last week that no one can ever quite match her bravura Tony Award-winning performance.
That goes double, by the way, for Dunagan's co-star
Rondi Reed as Mattie Fae Aiken. I've witnessed two other actresses attempt making that delicious role their own. Try as they might, neither could erase my fond memory of
the quintessential Mattie Fae. Coincidentally, Reed has also succeeded in winning my heart as the absolute best of the dozen or more Madame Morribles I've ever seen in
Wicked.
So, dear readers, who are
your favorite replacements? Or if your fabulously ridiculous dreams could come true, whom would you want to see as replacements in a current Broadway show?
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 Little Night Music, Annie Get Your Gun, August Osage County, Bernadette Peters, Broadway, Charles Isherwood, Deanna Dunagan, Jonathan Pryce, Reba McEntire, Replacements, Rondi Reed, Wicked
August: Osage County (The SOB Revisit) – Main Stage, Sydney Theatre Company, Sydney, New South Wales, Australia
**** (out of ****)Jet lag be damned.
Despite being on Aussie soil for only a week, the excellent troupe from Chicago’s
Steppenwolf Theatre is firing on each and every one their finely calibrated cylinders. That includes
extraordinary new ones they’ve picked up along their lengthy journey from their
Windy City home base to Sydney via
Broadway and
London.
While I’ve long since run out of superlatives to adequately describe
Tracy Letts’
August: Osage County, a magnificent modern American masterpiece if there ever was one, I’ve never seen it in better shape than I did Tuesday evening here in Sydney. With no trace of irony or hint of hyberbole whatsoever, Tuesday's opening night constituted the single best night I've ever spent in a theatre.
After having begun going their own ways immediately after the explosively comedic drama earned the Tony Award for Best Play in 2008, the cast reunited less than one month ago and only resumed live performances last week. But you’d never know it.
Just like close friends who are able to pick up where they last left off, these exceptional actors -- including the mindblowing
Deanna Dunagan as the drug-addled matriarch Violet Weston, the raucously funny
Rondi Reed as her sister Mattie Fae Aiken, the formidible
Amy Morton as Violet's take-charge daughter Barbara Fordham), along with
Mariann Mayberry (Karen Weston),
Sally Murphy (Ivy Weston),
Jeff Perry (Bill Fordham),
Kimberly Guerrero (Johnna Monevata) and
Troy West (Deon Gilbeau) -- succeed in building on the dysfunctional family they created over three years ago. In finding further depths in their relationships with one another, each is giving the performance of their lives.
The result is a breathtaking blast into the stratosphere. Buckle up, because it just may be best -- and bumpiest -- theatrical ride of your life. And a spine-tingling one at that.
For me, this unforgettable experience was well worth the trip to Sydney.
August: Osage County is an unmissable milestone in American theatre.
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: Amy Morton, Anna D Shapiro, August Osage County, Deanna Dunagan, Opening Night, Play, Rondi Reed, Steppenwolf, Sydney, Sydney Theatre Company, Tracy Letts
August Down Under Over EasyThis evening,
Tracy Letts' Pulitzer Prize and Tony Award-winning
August: Osage County may be opening for its
second time in Australia, but
this time it's doing so for the first time with most of its
original Steppenwolf (and
Broadway) cast and crew from Chicago.
The
entire production has been imported,
kit and
kaboodle, by
Sydney Theatre Company's Artistic Directors
Cate Blanchett and
Andrew Upton for its Main Stage.
While performances began on August 13, tonight marks this cast's
fourth opening night, after having first performed this modern masterpiece at
Steppenwolf's home in
Chicago,
on Broadway and
at London's
National Theatre.
Recreating their stunning Tony Award-winning turns Down Under are
Deanna Dunagan as Violet Weston and
Rondi Reed as her sister Mattie Fae Aiken, along with their original Steppenwolf castmates
Amy Morton (Tony nominated for her brilliant portrayal of Barbara Fordham),
Mariann Mayberry (Karen Weston),
Sally Murphy (Ivy Weston),
Jeff Perry (Bill Fordham),
Kimberly Guerrero (Johnna Monevata) and
Troy West (Deon Gilbeau).
Other casting includes
Molly Ranson (Jean Fordham) who was a Broadway replacement in the role of Jean Fordham, and three members of the London cast:
Chelcie Ross (Beverly Weston),
Paul Vincent O'Connor (Charlie Aiken) and
Gary Cole (Steve Heidebrecht). The only truly new cast member is
Gary Wilmes, who portrays Little Charles.
Once again, Tony Award-winning director
Anna D. Shapiro helms this inherently American tale, and as she so eloquently told the
Sydney Morning Herald yesterday, "Our company can do fraught standing on its head."
If you live anywhere near Sydney, make every effort to get tickets to see
August: Osage County. Why? Because unlike any other import from the United States, this represents contemporary American drama at its absolute best. You can't afford to miss it.
In fact, I simply couldn't resist coming back to Sydney myself. Indeed, this evening, I'll once again lose myself in Letts' epic work one last time .... at least with original castmembers.
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: Amy Morton, Anna D Shapiro, August Osage County, Deanna Dunagan, Opening Night, Play, Rondi Reed, Steppenwolf, Sydney, Sydney Theatre Company, Tracy Letts
August August AugustNearly one year ago,
I reported here that
Tracy Letts' august masterpiece
August: Osage County and most of its original
Steppenwolf (and
Broadway) cast and crew would be Australia-bound this August.
Now it's been confirmed that
Deanna Dunagan and
Rondi Reed will reprise their magnificent Tony-winning turns as Violet Weston and Mattie Fae Aiken, respectively, one more time at the
Sydney Theatre Company's Main Stage.
Once again, they'll be joined by original Steppenwolf castmates
Amy Morton (Tony nominated for her brilliant portrayal of Barbara Fordham),
Mariann Mayberry (Karen Weston),
Sally Murphy (Ivy Weston),
Jeff Perry (Bill Fordham),
Kimberly Guerrero (Johnna Monevata) and
Troy West (Deon Gilbeau).
Other casting includes
Molly Ranson (Jean Fordham) who was a Broadway replacement in the role of Jean Fordham, and three members of the London cast:
Chelcie Ross (Beverly Weston),
Paul Vincent O'Connor (Charlie Aiken) and
Gary Cole (Steve Heidebrecht). As Little Charles, only
Gary Wilmes is completely new to the cast.
Wilmes replaces
Ian Barford, husband of
August: Osage County director
Anna D. Shapiro. Not only will Barford will tend to his fatherly duties back home while Shapiro once again shapes the show in Sydney, but Steppenwolf audiences will see him on their boards again this September in
Detroit alongside
Laurie Metcalf.
August: Osage County begins performances at the
Sydney Theatre Company August 13 with previews on August 14 and 16. The play opens Down Under on August 17 and performances are currently scheduled through September 25.
This is Steve On Broadway (SOB).
Labels: Amy Morton, Anna D Shapiro, August Osage County, Broadway, Chicago, Deanna Dunagan, London, Rondi Reed, Steppenwolf, Sydney, Sydney Theatre Company, Tracy Letts
SOB's Fifty Favorite Shows Of The Noughties
SOB's Fifty Favorite Shows Of The Noughtiespleased to present my list of plays and musicals that wowed me the most during the just completed decade. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 50 personal favorite shows of the Noughties. 50.
Barry Humphries & Friends: Back With A Vengeance! (Melbourne, Australia)
49.
The Breath Of Life (2002, London, United Kingdom)
48.
Dirty Blonde (2003, San Diego, CA)
47.
An Inspector Calls (2001, London, United Kingdom)
46.
Dirty Rotten Scoundrels (2005, New York City, NY)
45.
Mary Poppins (2004, London, United Kingdom)
44.
The Unmentionables (2006, Chicago, IL)
43.
The Women (2001, New York, NY)
42.
Sonia Flew (2006, Chicago, IL)
41.
One Flew Over The Cuckoo's Nest (2001, New York City, NY)
40.
Sweeney Todd, The Demon Barber of Fleet Street (2006, New York City, NY)
39.
Reeling (2006, Minneapolis, MN)
38.
Ivanov (2008, London, United Kingdom)
37
The Real Thing (2006, Minneapolis, MN)
36.
The Best Man (2000, New York City, NY)
35.
The Full Monty (2009, St. Paul, MN)
34.
The Well-Appointed Room (2006, Chicago, IL)
33.
A Catered Affair (2008, New York City, NY)
32.
A Blameless Life (2005, Chicago, IL)
31.
Brighton Beach Memoirs (2009, New York City, NY)
30.
Hairspray (2002, Seattle, WA/2008, New York City, NY)
29.
The Car Man (2001, St. Paul, MN)
28.
Purple Heart (2002, Chicago, IL)
27.
Into The Woods (2002, New York City, NY)
26.
Hedda Gabler (2006, New York City, NY)
25.
Nine (2003, New York City, NY)
24.
Superior Donuts (2008, Chicago, IL/2009, New York City, NY)
23.
Grey Gardens (2007, New York City, NY)
22.
Twelfth Night (2009, New York City, NY)
21.
My Fair Lady (2001, London, United Kingdom)
20.
Small Tragedy (2003, Minneapolis, MN)
19.
Guys And Dolls (2005, London, United Kingdom)
18.
Long Day's Journey Into Night (2003, New York City, NY)
17.
Ruined (2009, New York City, NY)
16.
The Producers (2002, New York City, NY)
15.
Evita (2007, London, United Kingdom)
14.
The Beatles Love (2007, Las Vegas, NV)
13.
Passing Strange (2008, New York City, NY)
12.
Dreamgirls (2007, Atlanta, GA)
11.
Theatre Of The New Ear (2005, Los Angeles, CA)
10.
A Little Night Music (2008, London, United Kingdom)
9.
Wicked (2003, New York City, NY)
8.
La Bohème (2002, New York City, NY)
7.
Gypsy (2008, New York City, NY)
6.
Our Town (2009, New York City, NY)
5.
The Last Five Years (2003, Philadelphia, PA)
4.
Doubt (2005, New York City, NY)
3.
Assassins (2004, New York City, NY)
2.
The Norman Conquests (2009, New York City, NY)
1.
August: Osage County (2007, Chicago, IL/2008, New York City, NY/2008, London, United Kingdom)
In the days to come, I'll be looking
forward to what's to come in this new decade. Happy New Year!
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 each of these performances.Labels: August Osage County, Broadway, Musicals, Play, Revival, SOB's Favorite Shows Of The Noughties, The Norman Conquests
SOB's Favorite Shows Of The Noughties: #1 - August: Osage County (2007, Downstairs Theatre, Steppenwolf, Chicago, IL/2008, Imperial Theatre, New York City, NY/2008, Music Box Theatre, New York City, NY/2008, Lyttelton Theatre, National Theatre, London, United Kingdom)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. Was there any doubt that
August: Osage County would ranks as my favorite show of the decade?
Since
first being blown away in the Windy City by
Tracy Letts' Pulitzer Prize-winning masterpiece back in (appropriately enough) August 2007, I've devoted considerable space to the best-written, best-acted play I've ever seen at Chicago's
Steppenwolf, and that's no small feat.
In
August: Osage County, Letts has constructed an absolutely brilliant, riotous script that provided for one stellar performance after another by its excellent ensemble. During its acclaimed Broadway run, the play ran even deeper, packing a more lethal, visceral punch than what I saw in Chicago, hitting even harder with greater precision that I would not have even thought possible. Credit
Anna D. Shapiro for sharpening this play into a razor-sharp, whip-smart American classic. It was even funnier, too.
In London, it took on additional shadings for me as an indictment on American society for the many grievances that came to roost as our economy went over a cliff.
Deanna Dunagan (Violet) delivered a bravura performance for the ages as the matriarch of the Weston clan. But she was matched by an equally stunning ensemble, with
Amy Morton giving as good as she got, and even better, as Violet's daughter Barbara;
Rondi Reed's Mattie Fae was likely to remind you of your favorite, if she wasn't so crazy, aunt; and
Francis Guinan as Mattie Fae's long-suffering husband Charlie offered a sweet dignity to the proceedings, especially when tempered by one of the play's many revelations exposing the startling truth about his own son.
Since first seeing the show in Chicago, I've known that I had witnessed something very, very special in the world of live theatre. Upon considerable reflection, I can attest that this is the best new theatrical work I've seen over the last ten years. It most certainly was almost my personal favorite of the decade.
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 each of these performances.Labels: Amy Morton, Anna D Shapiro, August Osage County, Broadway, Chicago, Deanna Dunagan, Francis Guinan, Rondi Reed, SOB's Favorite Shows Of The Noughties, Steppenwolf, Tracy Letts
SOB's Theatrical Firsts Of The Noughties: My First TonysOver the course of the last decade, I’ve been truly fortunate to enjoy a number of enlightening firsts in my personal theatergoing that have only served to increase my deep and abiding love for the art form known as live theatre. What follows is one of my ten favorite experiences of the last ten years.If you’ve ever looked at that little photo of me on the right hand side of this page, you’ll know that my eyes are peeking out from above one of those lovely little awards that
American Theatre Wing' and Broadway League jointly use to honor Broadway’s best each year.
It is an Antoinette Perry or
Tony Award, and I first came face to face with one when my dear friend and exceptional photographer Stephen Mosher offered an impromptu photo shoot as part of a much larger series of images he created with Tony Awards in his custody. After the death of celebrated costume designer Florence Klotz, her Tonys -- including the one I’m holding -- were placed in his care. With Klotz’s Tony for her work on
Pacific Overtures and a few clicks of Stephen’s camera, he helped me live up to the moniker Steve On Broadway.
Attending the Tonys was another story. I’ll never forget the thrill of attending the 2008 ceremony at Radio City Music Hall since it was the year Tracy Letts’
August: Osage County was the major contender among straight plays. Hosted by the wonderful and appropriately funny
Whoopi Goldberg, the Tony experience gave me many insights that I would never have known from watching it at home.
I learned so much, not only about all the behind-the-scenes work that goes into this production, but also just how much
more fun actually being there can be. It's not just seeing the nominees and presenters in person, but the chance to see those amazing performances live on stage yet again, including Patti LuPone’s “Everything’s Coming Up Roses.” It's also the nonstop buzz you feel from the moment you step onto the red carpet right up until you receive your Tony
swag bag upon departure from the Gala.
Among all the new plays,
August: Osage County was the big winner, not only as Best Play, but also for director Anna D. Shapiro, scenic designer Todd Rosenthal and actresses Deanna Dunagan and Rondi Reed. My Love Of My Life (LOML) and I were up on our feet for each of those wins, and curiously, upon a later viewing of a recording of the televised ceremony, we were pleasantly surprised to see us right over the top of Reed’s shoulder offering her our standing ovation just after she had been named Best Featured Actress in a Play.
Among the new musicals, we may have been cheering for
Passing Strange, but our seats were immediately behind the contingent from
In The Heights. So when their wins were announced from the stage, it was hard not to get caught up in the excitement of the moment for them.
While I didn’t enjoy a repeat appearance at this year’s Tony Awards, my LOML and I were absolutely delighted to receive an invitation to attend the
75th Annual Drama League Awards, which honor the best on Broadway as well as off and off-off.
If the Tony Awards are
Broadway's equivalent to the
Academy Awards, then the Drama League Awards are, as
Shrek The Musical star
Christopher Sieber quipped to me, “like the
Golden Globes for theatre!" Sieber, by the way, was one of the
71 nominees for distinguished performance from New York theatre. And so it was with nearly all of the nominees assembled for a wine-filled luncheon on a three-tiered dais that reminded one nominee of a large "
Match Game" set (it looked more to me like a celebrity telethon minus the telephones).
The glory of the Drama League Awards is that while there are all those nominees ranging from the
famous Oscar-
winning stars to the actors who've just experienced their first major breaks Off-Off-Broadway, they all have an equal opportunity to say a few words. And many do it with such a welcome flourish.Despite the fact they were all vying for one award, the sense of community they shared as actors was palpable. It was truly incredible and one of the best celebrations of the theatrical art form I've ever enjoyed.
Just as my LOML and I mingled with the stars at the Tony Awards and the ensuing Tony Gala and
August: Osage County party that followed, we found ourselves in the midst of a galaxy of stars at the Drama League reception immediately prior to the lunch. At one point, we found ourselves surrounded by Angela Lansbury, Cynthia Nixon, Jeremy Irons and the three Billys from
Billy Elliot. With so many actors packed into one tight space, it was no wonder we were asked more than once if we were among the nominees.
Would I go back to the Tony and Drama League Awards? Are you kidding? Absolutely.
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 both awards shows and my friend Stephen Mosher graciously took a photo for me out of the goodness of his own heart.
Labels: August Osage County, Awards, Billy Elliot The Musical, Drama League, Patti LuPone, Rondi Reed, Tony Awards
SOB's Theatrical Firsts Of The Noughties: My Steppenwolf Love AffairOver the course of the last decade, I’ve been truly fortunate to enjoy a never-ending number of enlightening firsts in my personal theatregoing. Each has only served to increase my deep and abiding love for the art form known as live theatre. What follows is one of my ten favorite experiences of the last ten years.While
Time magazine may have dubbed the Noughties as “
the decade from hell” with myriad reasons to support that claim, I’ll always remember the last ten years for my introduction to the two great loves of my life.
Aside from
The Love Of My Life, who has been my soul mate and partner in crime around the world for the last two-thirds of the decade, my other noteworthy love affair that continues to flourish is with a Chicago-based non-profit that has been providing me with nearly ten years of intellectual stimulation since I first laid eyes on its breathtaking work.
Back in 2001, prior to the horrific attacks of 9/11 that forever altered our outlook on life, I had the opportunity to take in an excellent revival of
One Flew Over The Cuckoo's Nest at Broadway’s then
Royale Theatre. The
Terry Kinney-helmed play had just won the Tony for Best Revival, so I was buzzing with anticipation. As only a budding theatre aficionado at that time, I was still unfamiliar with Chicago’s
Steppenwolf Theatre or its stellar reputation. But as the curtain fell on that show, I was already blown away by the likes of Steppenwolf co-founder
Gary Sinise as Randle P. McMurphy and ensemble member
Amy Morton as the notorious Nurse Ratched. With an indelible impression made, I wanted to know more about this theatre company. Steppenwolf was forever on my personal radar.
Fast forward to the summer of 2002 when one of my close friends from Australia was visiting the United States.
Paul Battye had a very limited itinerary, but one of the places on it was Chicago. Since I had pledged I’d meet up with him somewhere during the course of his trip, I decided that I’d make my way to the Windy City. Once there, I learned that near the top of his to-do list was taking in a production at Steppenwolf. While our other local friends passed on the opportunity, I said I was in.
He told me that the production currently playing was something called
Purple Heart. To be honest, I could have cared less what it was since I was excited I’d have a chance to see a Steppenwolf production on its own home turf. Little did I know that my captivation from seeing
Bruce Norris’ compelling play starring
Christopher Evan Welch,
Rosemary Prinz and
Laurie Metcalf would make a devoted personal involvement with Steppenwolf inevitable.
Less than three years later, I took a position with a major PR firm in Chicago, of all places (where, among other things, I learned about the increasingly vital role that blogging would play in mass media and a burgeoning social networking). Because another friend of mine was already involved in Steppenwolf’s
Auxiliary Council’s Board of Governors and recognized my deep-seated love for live theatre as well as my enormous respect for this Chicago institution, he asked if I had any interest in joining that group. I didn’t even hesitate in saying “yes.”
By the time I left Chicago barely a year later for other professional opportunities, I had become deeply immersed in the Steppenwolf culture. Talk about a tight knit organization. I had seen almost every show their three stages offered, and I had become acquainted with so many exceptional people behind the scenes that I simply could not let go. Icing on the cake was having one opportunity after another in meeting many of the exceptional array of ensemble actors.
Because moving away from Chicago presented its own challenges in my ability in providing a minimum level of commitment I believed necessary toward contributing as a solid member of the Board of Governors, I ultimately resigned from the body sometime in 2006, but pledged my support via the next best means: financially. I am proud to say I’m a member of Steppenwolf’s
Director’s Circle of donors. I believe so wholeheartedly in this extraordinary theatre company that I am pleased to lend it my financial support.
One of the benefits of being a Director’s Circle donor is that I regularly attend nearly all of the opening nights of Steppenwolf’s seasons. While I can’t say that I’ve seen each and every production with the same level of enjoyment, I profess that each has challenged me in profound ways I could never have anticipated.
Despite my ongoing support, I have not shied away from telling you how I really feel about productions I have reviewed in this space. However, it probably goes without saying that the majority of Steppenwolf’s productions have made me enormously proud to be counted as one of its supporters -- otherwise, why would I continue to support it?
Certainly the best of those productions I’ve seen is a little Pulitzer Prize and Tony Award-winning play you may have heard of:
August: Osage County. Due to an unfortunate scheduling conflict, I was unable to get back to Chicago for its opening night, but when I hit the Windy City just a couple weeks later and took in the production, I was simply blown away by its depth and breadth.
All my pride in Steppenwolf came gushing out in ways it never had before. I suddenly found myself championing a Broadway transfer for
Tracy Letts’ superb work. I even mentioned in my
SOB Review that this play deserved Pulitzer Prize buzz.
While I wasn’t able to get to the delayed
August: Osage County’s opening night on Broadway due to major upheavals in my professional life (which ultimately worked out for the best), I did manage to see the show
three times on the Great White Way. I also had the rare opportunity to personally cheer it on in live at the
2008 Tony Awards and afterwards at the show’s very own Tony party, and even finally saw
an opening night when most of the original cast transferred to London’s National Theatre a year ago last Thanksgiving.
Now, I’ve begun contemplating a journey Down Under for
this play’s mounting at the Sydney Theatre Company with many of its original cast, but in the meantime, I can’t wait to see it again next spring as it
tours the United States.
As for Steppenwolf itself, it’s been an honor and quite a thrill to continue supporting this vital organization and take in each new play that opens there. But to bring this post full circle, I have to thank Steppenwolf’s Director of Development Sandy Karuschak. You see, I recently regaled her on how it was love at first sight with Steppenwolf by taking in
One Flew Over The Cuckoos Nest. And you know what? Barely a week later, she graciously sent me an exquisite poster from the show autographed by the entire cast – a keepsake of my ongoing love affair that I’ll forever treasure.
So, I'll close out this first post of my decade's worth of personal firsts by saying, if you’ve never been to Steppenwolf in Chicago, you haven’t seen live theatre.
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 more than paid my own way for each of the performances outlined, although as noted above, the theatre was kind enough to recognize my love for it by sending me a poster. Eat your heart out, FTC.Labels: Amy Morton, August Osage County, Broadway, Bruce Norris, Chicago, Gary Sinise, Laurie Metcalf, One Flew Over The Cuckoos Nest, Purple Heart, Steppenwolf, Tracy Letts
Superior Donuts Broadway Opening NightLess than two years after
Tracy Letts earned
extraordinary praise for his first Broadway play
August: Osage County, along with just about every major honor he could possibly win, including the Pulitzer Prize and Tony Award, the playwright/actor's latest play opens tonight at the Main Stem's
Music Box Theatre.
Superior Donuts follows a similar path as Letts' earlier effort, having originally premiered at Chicago's
Steppenwolf Theatre. Directed by
Tina Landau,
Superior Donuts stars Broadway veteran
Michael McKean opposite
Jon Michael Hill. As
I've noted before, while Hill may be new to Broadway audiences, he already lays claim to a distinguished array of credits as Steppenwolf's youngest ensemble member.
Superior Donuts also stars
Robert Maffia,
James Vincent Meredith,
Yasen Peyankov,
Jane Alderman,
Kate Buddeke,
Cliff Chamberlain and
Michael Garvey.
Unlike
August: Osage County, which included the same scenic design on Broadway as it did at Steppenwolf,
Superior Donuts receives a "fresh" look -- a term I use with tongue firmly planted in cheek -- from
James Schuette.
Whether or not
Superior Donuts follows in the rest of its precursor's footsteps remains to be seen. While I certainly want to see it savored by the critics and public alike, it already has found a special place in my heart, as well as in the annals my very own theatregoing history.
One of the reasons why I'm such an ardent Steppenwolf supporter and fan is because they regularly produce exceptional plays that resonate with me, challenge me and make me think. Yes, there are the occasional shows that leave me a little cold, but the vast majority are incredibly well-crafted and almost all universally are exceptionally well-acted.
Superior Donuts is, in my humble opinion, one of the best of their best, as I noted in
my SOB Review after seeing it open in Chicago a year ago last summer. It's why I'm personally looking forward to attending its opening night this evening on Broadway -- a first for me. I'm hoping for a truly
Superior Broadway experience in every way.
This is Steve On Broadway (SOB).
Labels: August Osage County, Broadway, Jon Michael Hill, Michael McKean, Opening Night, Play, Superior Donuts, Tina Landau, Tracy Letts
Sydney Theatre Company Formally Announces August: Osage County For August 2010
American theatre lovers! You
heard it here first.
Way back in July, I first reported that
the original August: Osage County would be trekking Down Under to Sydney, Australia. Now, the
Sydney Theatre Company (STC) has made it truly official.
STC Artistic Directors
Cate Blanchett and
Andrew Upton have
now said:
This monster of a production from Steppenwolf cleaned up at last year’s Tony Awards, taking five gongs including Best Play, Best Direction of a Play, Best Leading Actress and Best Featured Actress. This is a unique opportunity to see the legendary American ensemble deliver what might well be the next American classic.
While casting is yet to be announced (more on that in a moment), the original stateside creative team will be Australia bound. The limited run is now slated to begin previews on August 13, 2010, with an opening scheduled for August 17.
August: Osage County will run through September 25, 2010.
As for the cast, in addition to the above notes from Blanchett and Upton, the official
STC Web site adds that this production will be "Featuring Steppenwolf ensemble members from the Chicago and Broadway companies." Expect to see most of the familiar names you know and love recreating their roles in Sydney.
I'll reiterate my question from nearly four months ago: Anyone game for going Down Under?
This is Steve On Broadway (SOB).
Labels: Andrew Upton, August Osage County, Cate Blanchett, Play, Steppenwolf, Sydney, Sydney Theatre Company, Transfer
Age On StageEver since
August: Osage County premiered at
Steppenwolf two years ago, I've heard one common "complaint" about one member of its cast, "
Sally Murphy (pictured, far left) is
way too young to be playing the role of Ivy Weston."
No matter that Ivy is written as a 40 year old woman.
Oh I know, I know. Sally Murphy certainly doesn't look anything close to 40. After all, her last Broadway role prior to
August was as the young, baby-faced Tzeitel in the 2004 revival of
Fiddler On The Roof. But truth be told, Sally Murphy was born in the fall of 1962, making her just a tad older than Ivy Weston. Murphy isn't getting older, she's getting better.
More recently, I've been struck by the number of people (including yours truly) who found an incongruity in matching
Jayne Atkinson (pictured, middle) with Rupert Everett (pictured, right) as her husband in the recently departed Broadway revival of
Blithe Spirit. No, no one was musing anything about real-life sexual orientation. Instead, I kept hearing, "Jayne Atkinson's Ruth looks way too old to be the wife of
Rupert Everett's Charles."
As my dear friend SarahB at
Adventures in the Pursuit of Endless Entertainment has continually reminded me, the lovely Atkinson was made up to appear older than she really is. Because in actuality, Atkinson -- born on February 18, 1959 -- is a mere three months older than Everett, who was born on May 29, 1959. Ironically, I didn't hear a soul complain about the stretch of Everett being paired with
Christine Ebersole as his first wife Elvira. The eternally youthful looking Ebersole celebrated her 56th birthday just three days after Atkinson turned 50.
My point in all this? Our ageist culture does a tremendous disservice to individuals of all ages, actors and otherwise, as it tries to peg people into stereotypes based on age or lack thereof. Since we've seen color-blind and to a lesser degree gender-blind casting, maybe age-blind casting should be seriously considered, too. The stage is perhaps the best laboratory to make it happen.
This is Steve On Broadway (SOB).
Labels: August Osage County, Blithe Spirit, Broadway, Christine Ebersole, color blind casting, Jayne Atkinson, Rupert Everett, Sally Murphy
More August Down Under With American Original
When
August: Osage County posted its closing notice for Broadway a couple weeks back, those prone to parsing statements may have noted
I concluded my wrap-up saying:
But something tells me that you haven't heard the last of the original cast of August: Osage County. And with that, I'll just say so long for now.
Now I can reveal what I had only hinted at.
According to the
Tuesday, July 7 issue of The Age:
The biggest-selling stage show so far this year, the Melbourne Theatre Company's production of hit August: Osage County will be staged in Sydney next year. But audiences will not get to see one of the grande dames of Australian theatre, Robyn Nevin, in one of her most defining roles.
Instead, the Sydney Theatre Company is importing the original production by Chicago's Steppenwolf Theatre Company that has appeared in New York and London. It will be presented in the 900-seat Sydney Theatre and follows on from the importation of Alan Bennett's The History Boys by London's National Theatre in 2006.
It was the Steppenwolf production that Tracy Letts' play that won five Tony Awards in New York.
So, now you know more about this ever-evolving story that began just over two years ago last month in Chicago.
Anyone game for going Down Under?
This is Steve On Broadway (SOB).
Labels: August Osage County, Australia, Chicago, First Word On New Show, Play, Sydney, Sydney Theatre Company, Tracy Letts
Agosto Em OsageCan't wait for the
North American tour of
August: Osage County to get your fix of
Tracy Letts' landmark play?
Well, you actually have a couple options, albeit expensive ones.
First, you get on a play bound for Melbourne, Australia, where the Westons and Aikens continue to hold court at the
Melbourne Theatre Company through July 4.
In addition to those who already told me that they so the production by the time
I posted my story on the opening, several additional Aussie friends have taken my recommendation to see the production and all have raved. They've said:
AWESOME advice...
We saw it last night and were both BLOWN AWAY! Thanks for the tip - Robyn Neven as Violet was MESMERISING!!!
and
Hey Steve.. Just LOVED August: Osage County. It was so electric. Just loved the pace and performances. Especially the Violet role played by our Dame of theatre Robyn Nevin. Have you ever heard of her - she is amazing.
It really was astounding - if I could see plays like that every time I went to the theatre - I would feel as if I was in Heaven!
OMG - cannot wait to see that play again... Amazing...
and
I saw August Osage County in Melbourne last night and I loved it. Easily the greatest night at the theatre I've had this year - if not, for years. It's superb. Robyn Nevin's performance as Violet is transformative and magnetic to watch.
If Australia is too far (these days, it's not nearly as expensive as it had been) and you can speak Portugese, you might consider visiting Lisbon. That's right. There is a
production playing right now at the Portugese capital's
Teatro Nacional D. Maria II!
Imagine my delight this morning in receiving an e-mail from one of my friends who landed in Lisbon (Lisboa) yesterday. He wrote:
It seems to me that August: Osage County is playing here in Lisbon - we took a picture of the poster for you
West Side Story is here as well - perhaps they will hire Swedes to play the Jets!
The production began June 25 and runs through August 2. The Teatro Nacional's Web site includes the
following description of the play (you've got to love this very rough translation from Portugese, a language I do not speak):
All the happy families are identical and all the unfortunate families the Saints to her way. When, in a night, in the rural environment of Oklahoma, the alcoholic patriarch disappears mysterious, the big clan of the Weston unites immediately for consolation of the mother and for will hurry the motive of the disappearance of the father. Seeing forced it confront hidden truths and surprising secrets, the family ends up be involved in an argument with the matriarch Violet, an addicted woman in pharmaceuticals and unstable psychological state, that is found in the environment of this stormy family.
Oh to be able to see how this show translates, quite literally.
This is Steve On Broadway (SOB).
Labels: August Osage County, Australia, Lisbon, Melbourne, Melbourne Theatre Company, Play, Portugal, Robyn Nevin, Touring Production, Tracy Letts
August: Osage County - And Then They're GoneCall it a day of theatrical symmetry.
Exactly two years to the day after Chicago's
Steppenwolf Theatre premiered
Tracy Letts' Pulitzer Prize and Tony Award-winning
August: Osage County at its Downstairs Theatre, the show closed at the
Music Box Theatre. Directed by
Anna D. Shapiro, the play enjoyed 648 performances on Broadway.
My dear friend Kevin Daly at
Theatre Aficianado At Large was there for the closing performance, which had its own surprise before it even began. Kevin looked at the board next to the ticket counter and saw that
Rondi Reed was back for the final performance. It wasn't long before he was
tweeting about it to let the whole world know.
Meanwhile, back at Steppenwolf's Downstairs Theatre last evening,
Bridget Carpenter's
Up was enjoying its opening night. This is the latest play to be helmed by Shapiro and it features her husband
Ian Barford (the original Little Charles from
August: Osage County) in the lead. Other noteworthy alums from
August: Osage County were on hand, including Tony winner
Deanna Dunagan (the original Violet Weston) and
Francis Guinan (the original Charlie Aiken). Both were clearly thrilled to hear that Reed had returned for that final performance. Guinan will return to the Steppenwolf stage in
Fake beginning in September.
While dignitaries like
Illinois Governor Pat Quinn were on hand to witness the troupe's latest treasure, the symmetry of Steppenwolf's sweet serendipitous Sunday in New York and Chicago rounded out with actor
Jon Michael Hill of Lett's
Superior Donuts being in the Windy City house. While I can't say whether he'll be part of the transfer to Broadway this fall, I expect great things from this incredible young talent and believe Great White Way audiences will celebrate his name sometime soon.
And once again thanks to Steppenwolf, I'll have bragging rights not unlike those when I was among the first to see
August: Osage County nearly two years ago.
This is Steve On Broadway (SOB).
Labels: Anna D Shapiro, August Osage County, Broadway, Chicago, Deanna Dunagan, Francis Guinan, Ian Barford, Jon Michael Hill, Rondi Reed, Steppenwolf, Superior Donuts, Tracy Letts, Up
Down For The County, August House Empties OutExactly two years to the day after its Pulitzer Prize and Tony Award winning ride began on the Downstairs Stage at Chicago's
Steppenwolf Theatre,
Tracy Letts'
August: Osage County will close at the
Music Box Theatre, its second Broadway home.
Back on
June 28, 2007, Letts' sprawling, searing masterpiece began previews at its original Windy City home with a sizeable cross-section of talent from the company's estimable ensemble. As an enthusiastic and proud Steppenwolf supporter, I was disappointed to miss the original opening night in July of that year. But after seeing it one August night, I was enthralled as I found myself completely sucked in on one side and blown out the other.
Mind you, I'm blown away more often than not when I attend Steppenwolf's carefully selected plays. It's one of the reasons why I have become such an ardent supporter and fan. But the feeling I had after seeing
August: Osage County the first time was something way beyond anything I typically experience. I knew I was witnessing something truly extraordinary and rare in the annals of theatre history.
Of course, by the time I saw it, word had already reached New York and beyond. In my initial review, I summed up by stating:
I've already heard rumor that this Steppenwolf world premiere play is already being touted for consideration by the Pulitzer Prize committee and that a Broadway transfer may be a real possibility. However, my strong recommendation is to do everything you can to see this modern-day, sure-to-be classic with its impeccable current cast.
Little did I realize then that nearly everyone from that original Chicago cast would make their way to New York for the initial Broadway run, which began previews on October 30, 2007. Nor did I realize quite the way they'd take New York by storm, conquering the hearts and minds of theatregoers who hungered for something exciting and new. It mattered little that the running time was nearly three and a half hours because as one of my favorite Steppenwolf friends once told me before I ever saw the work, "This is the fastest three and a half hours you'll ever spend inside a theatre."
Plans for
August: Osage County's opening night were scuttled thanks to the stagehands strike in the fall of 2007 (yours truly had been thrilled to be invited to attend as it was to be my first opening night of any Broadway show). Shortly after the strike was settled, opening night performances for a slew of shows was hastily arranged, and just my luck, my work prevented me from attended the rescheduled opening on December 4, 2007, for
August. Nevertheless, the play never got lost in the shuffle as it opened to
rave reviews.
By now, you know that the accolades didn't stop there. On
April 7, 2008, Tracy Letts was honored with a Pulitzer Prize for Drama. Nominations for all the major theatrical awards came shortly thereafter with the Tonys providing the cherry on top. On
June 15, 2008,
August: Osage County won five Tony Awards for Best Play, Best Actress in a Play (
Deanna Dunagan for her bravura performance as Violet Weston), Best Director (
Anna D. Shapiro), Best Featured Actress in a Play (
Rondi Reed for her stellar turn as Aunt Mattie Fae Aiken) and Best Scenic Design (
Todd Rosenthal).
I managed to see
August: Osage County three times during its Broadway run --
once at the
Imperial Theatre with everyone from the original Main Stem cast except, sadly,
Dennis Letts, the playwright's father who was nearing the end of his valiant battle with cancer, and twice at the
Music Box, which provided a much more intimate experience for taking in this larger than life drama.
Third time, by the way, was the charm when it came to my attending opening nights. It was a complete joy to be in
London last November when most of the cast reassembled for the opening of
August: Osage County at the National Theatre.
So while I'm a little melancholy today that the play is closing, it's hard to feel too sad when you consider that it's doing so after 648 remarkable performances -- longer than any other current play on Broadway and the longest run for a play since
David Auburn's Pulitzer Prize/Tony-winning
Proof enjoyed 917 performances from 2000-2003. It's been an amazing run. I continue to marvel how this work has reconfirmed the theatre world's interest in Steppenwolf and made a star out of Tracy Letts' breathtaking writing.
As one door closes, certainly another one opens. As
noted in January, the North American tour of
August: Osage County kicks off next month on July 24 in Denver at the lovely
Ellie Caulkins Opera House before going on to San Francisco, Los Angeles, Portland, Seattle, Toronto, Hartford, Washington DC, Tempe and Dallas, among many other cities. For a production that originally clicked its heels with a tagline, "There’s No Place Like Home," the tour will really come home to roost when it lands in Oklahoma on January 26, 2010 at the
Tulsa PAC - Chapman Music Hall.
Another door that will soon open is for Tracy Letts' latest play
, Superior Donuts.
I loved this surprisingly tender show when I saw it last summer at Steppenwolf and understand that Letts has been reworking the script and preparing it for its October 1 opening on Broadway.
Perhaps the biggest door of all to open may in fact be for the silver screen incarnation of
August: Osage County film. It
was confirmed last August that the work would be transformed into a feature film. You have to bet that Hollywood's hottest actors are vying for the opportunity to try on the Weston Family for size.
But something tells me that you haven't heard the last of the original cast of
August: Osage County. And with that, I'll just say so long for now.
This is Steve On Broadway (SOB).
Labels: Anna D Shapiro, August Osage County, Chicago, Closing Notices, Deanna Dunagan, Film, London, Play, Rondi Reed, Steppenwolf, Superior Donuts, Todd Rosenthal, Touring Production, Tracy Letts
August In AustraliaThis evening marks the opening night for the Australian premiere engagement of
Tracy Letts' Pulitzer Prize and Tony Award-winning
August: Osage County at the
Melbourne Theatre Company.
It's also the first time the play has been produced beyond the reach of the
Steppenwolf ensemble members, including
Anna D. Shapiro, who directed the show in Chicago, New York and London. Instead,
Simon Phillips takes the helm of a cast that includes
Robyn Nevin as Violet Weston,
Jane Menelaus as Barbara Fordham,
Deidre Rubenstein as Mattie Fae Aiken, Rebekah Stone as Ivy Weston,
Heidi Arena as Karen Weston and
Roger Oakley as Charlie Aiken.
For those of you who were fortunate enough to see
Cate Blanchett in the excellent 2005
Brooklyn Academy of Music mounting of
Hedda Gabler, you'll recall that Nevin was the director of that fine revival.
Steve On Broadway's eyes and ears on the ground in Melbourne have already told me:
What a fantastic play!
I can see why it would resonate so strongly with an American audience -- it resonated pretty strongly here as well -- audible gasps, cheers, laughter to dead silence. But what fantastic writing. Gifts to the actors -- beautifully drawn characters, etc., etc., etc., etc. (insert rave here).
So hooray for good theatre -- long may it reign! And replenish our souls!
My source also tells me that Robyn Nevin, who is also among Australia's favorite character actors, is marvelous and can "make the audience turn on a dime."
Another friend in Melbourne tells me:
EVERYONE is talking about Osage County!
I only wish I could be there, but I'm certainly letting all my other friends in Melbourne know that they should not miss this play.
This is Steve On Broadway (SOB).
Labels: August Osage County, Australia, Deidre Rubenstein, Heidi Arena, Jane Menelaus, Melbourne, Melbourne Theatre Company, Opening Night, Play, Robyn Nevin, Roger Oakley, Simon Phillips, Tracy Letts
August Turns The Page On Color-Blind CastingOver the last two years, I've thrown virtually every superlative imaginable at
Tracy Letts' Tony Award and Pulitzer Prize-winning
August: Osage County. I love this show for its gritty "truth."
Come Tuesday, the composition of the Weston family will experience a dynamic change when one of the stage's most celebrated and accomplished contemporary actresses,
Phylicia Rashad, assumes the mantle of matriarch. When I first learned that Rashad would join the cast, I was positively intrigued. I had wistfully imagined whether she might be joined by
James Earl Jones, along with some of the stage's top African American actors, so they might do for
August what they had done for other classics like
Cat On A Hot Tin Roof.
However, in the latest attempt at color-blind casting, Rashad's Violet will just happen be mother to three white daughters. Will it matter?
Robert Brustein, founding director of the Yale and American Repertory Theaters,
assesses how he believes audiences will respond:
My guess, and it’s an educated guess, is that after 10 minutes you’ll forget what color anybody is.
The New York Times reporter Felicia R. Lee today
writes:
There were no changes in the script to reflect Ms. Rashad’s race.
Yet, interestingly enough, she adds:
And though she was picked foremost because of her talent, Mr. (Jeffrey) Richards said, she was also viewed as a Violet who could expand the play’s audience, especially of black theatergoers.
Is the production now trying to have it both ways?
One of the things I long have appreciated about live theatre has been its innovative casting irrespective of color, particularly when it makes sense or matters little to the central theme of the plot. In the realm of entertainment, live theatre can proudly stake a claim as the true leader in this area. As Rashad herself points out, she's being reteamed with
John Cullum for the second time as her stage husband; they appeared alongside one another in the superb 2007 production of
Shakespeare's
Cymbeline.
There's no question that entertainment can and should do a better job in casting to better mirror today's America. To that end, color-blind casting could easily be employed in more stage shows. Among Broadway's newest plays like
reasons to be pretty and
God Of Carnage, or in new musicals like
9 To 5, what difference would any of the primary character's skin color really make? The stories would still play the same without anyone even questioning the decision.
On the other hand, when race is truly central to the plot, it would be pure folly. Can you imagine any production for a show like
Raisin In The Sun or
Joe Turner's Come And Gone to substitute its principal characters with actors who aren't African American? It would be considered a contrived nuisance and rightly so.
My quandary about
August: Osage County is wondering how audiences will respond to this substantive change. It's not just because of the play's starkly realistic portrayal of a rural Oklahoma family. It's particularly because of Violet's own acid-tinged racist bile directed at her Native American caretaker Johnna. Violet's reflections on race pose an interesting challenge to Rashad and the rest of the
August ensemble. Is that insurmountable?
While the verdict on this choice remains to be seen, I'm still intrigued.
This is Steve On Broadway (SOB).
Labels: August Osage County, Broadway, Phylicia Rashad, Play, Replacements
