Steve On Broadway (SOB)

SOB's Best Of 2009-10: Best Play Revivals

SOB's Best Of 2009-10: Best Play Revivals

During 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

posted by Steve On Broadway (SOB) @ Saturday, June 12, 2010 0 comments

Tony Predictions: Who Cares What I Think?

Tony Predictions: Who Cares What I Think?

Stealing a line from Rocco at What's Good, What Blows In New York Theatre, who cares what I think in terms of predicting this year's Tony Awards?!

(UPDATED June 9, 2010: To view my Tony predictions from this year's field of nominees, please click here)

Not only have I offered my picks for the shows I believe Tony nominators will choose for this year's awards over at Just Shows To Go You (you'll find some of my explanations of those choices at the close of this post), but I also offer you my personal picks for each of the major awards here after having seen every single new show that opened on Broadway this season.

You'll note that Brighton Beach Memoirs figures prominently on my list below. Even though the Tony Administration Committee ruled it ineligible for any awards due to its premature closing, I am not bound by their rules and thus am selecting those whom I believe are truly the most deserving. But also bowing to the committee's decision, you'll find alternative choices listed as well.

Also, it should be noted that I have paired the exceptional projection designers with their respective scenic designers. Since this is a growing design element for an ever-increasing number of stage shows, I believe that it's high time the Tony Administration Committee offered an award for Best Projection Design (not to mention recognition for Best Ensemble).

So, as if you really cared, here are my personal picks in each of the Tony categories:

Best Play
Enron
Red
Superior Donuts
Time Stands Still

Best Musical
Everyday Rapture
Fela!
Memphis
Sondheim On Sondheim

Best Revival of a Play
Brighton Beach Memoirs
Fences
Lend Me A Tenor
Oleanna

Since Brighton Beach Memoirs is ineligible due to its premature closing, I would select The Royal Family in its place.

Best Revival of a Musical
A Little Night Music
Finian's Rainbow
La Cage Aux Folles
Ragtime

Best Actor in a Play
Norbert Leo Butz - Enron
Daniel Craig - A Steady Rain
Michael McKean - Superior Donuts
Alfred Molina - Red
Denzel Washington - Fences

Best Actress in a Play
Viola Davis - Fences
Linda Lavin - Collected Stories
Laura Linney - Time Stands Still
Jan Maxwell - The Royal Family
Laurie Metcalf - Brighton Beach Memoirs

Since Brighton Beach Memoirs has been ruled ineligible due to its premature closing, I would select Valerie Harper from Looped in place of Laurie Metcalf.

Best Actor in a Musical
Alexander Hanson - A Little Night Music
Douglas Hodge - La Cage Aux Folles
Chad Kimball - Memphis
Sahr Ngujah - Fela!
Jim Norton - Finian's Rainbow

Best Actress in a Musical
Kate Baldwin - Finian's Rainbow
Montego Glover - Memphis
Christiane Noll - Ragtime
Sherie Rene Scott - Everyday Rapture
Catherine Zeta-Jones - A Little Night Music

Best Featured Actor in a Play
Chris Chalk - Fences
Jon Michael Hill - Superior Donuts
Brian d'Arcy James - Times Stands Still
Eddie Redmayne - Red
Noah Robbins - Brighton Beach Memoirs

Since Brighton Beach Memoirs has been ruled ineligible due to its premature closing, I would select Stephen Kunken from Enron in place of Noah Robbins.

Best Featured Actress in a Play
Maria Dizzia - In The Next Room (Or The Vibrator Play)
Rosemary Harris - The Royal Family
Scarlett Johannson - A View From The Bridge
Jan Maxwell - Lend Me A Tenor
Marin Mazzie - Enron

Best Featured Actor in a Musical
Kevin Chamberlin - The Addams Family
Robin De Jesús - La Cage Aux Folles
Christopher Fitzgerald - Finian's Rainbow
Levi Kreis - Million Dollar Quartet
Euan Morton - Sondheim On Sondheim

Best Featured Actress in a Musical
Katie Finneran - Promises, Promises
Jackie Hoffman - The Addams Family
Angela Lansbury - A Little Night Music
Lillias White - Fela!
Terry White - Finian's Rainbow

Best Director of a Play
David Cromer - Brighton Beach Memoirs
Rupert Goold - Enron
Michael Grandage - Red
Kenny Leon - Fences

Since Brighton Beach Memoirs has been ruled ineligible due to its premature closing, I would select Stanley Tucci from Lend Me A Tenor in place of David Cromer

Best Director of a Musical
Christopher Ashley - Memphis
Terry Johnson - La Cage Aux Folles
Bill T. Jones - Fela!
Michael Mayer - American Idiot

Best Musical Score
Joe DiPietro and David Bryan - Memphis
Andrew Lippa - The Addams Family
Branford Marsalis - Fences
Lucy Prebble and Adam Cork - Enron

Best Book of a Musical
Marshall Brickman and Rick Elice - The Addams Family
Joe DiPietro - Memphis
Jim Lewis and Bill T. Jones - Fela!
Dick Scanlan and Sherie Rene Scott - Everyday Rapture

Best Choreography
Warren Carlyle - Finian's Rainbow
Stephen Hoggett - American Idiot
Bill T. Jones - Fela!
Sergio Trujillo - Memphis

Best Orchestrations
Jason Carr - La Cage Aux Folles
August Ericksmoen and Danny Troob - The Addams Family
Aaron Johnson - Fela!
Michael Starobin - Sondheim On Sondheim

Best Scenic Design (Play)
John Lee Beatty - The Royal Family
Wilson Chin - Next Fall
Alexander Dodge - Present Laughter
Anthony Ward (and John Driscoll, Projection Design) - Enron

Best Costume Design (Play)
Jane Greenwood - Present Laughter
Martin Pakledinaz - Lend Me A Tenor
David Zinn - In The Next Room (Or The Vibrator Play)
Catherine Zuber - The Royal Family

Best Lighting Design (Play)
Neil Austin - Hamlet
Russell H. Champa - In The Next Room (Or The Vibrator Play)
Mark Henderson - Enron
Brian MacDevitt - A Behanding In Spokane

Best Sound Design (Play)
Adam Cork - Enron
Michael Hooker and Peter Fitzgerald - Looped
Bray Poor - In The Next Room (Or The Vibrator Play)
David Van Tieghem - After Miss Julie

Best Scenic Design (Musical)
Beowulf Boritt (and Peter Flaherty, Projection Design) - Sondheim On Sondheim
David Gallo (and Shawn Sagady, Projection Design) - Memphis
Christine Jones (and Darrel Maloney, Projection Design) - American Idiot
Tim Shortall - La Cage Aux Folles

Best Costume Design (Musical)
Marina Draghici - Fela!
Santo Loquasto - Ragtime
Phelim McDermott and Julian Crouch - The Addams Family
Matthew Wright - La Cage Aux Folles

Best Lighting Design (Musical)
Kevin Adams - American Idiot
Ken Billington - Finian's Rainbow
Howell Binkley - Memphis
Natasha Katz - The Addams Family

Best Sound Design (Musical)
Robert Kaplowitz - Fela!
Brian Ronan - American Idiot
Dan Moses Schreier - Sondheim On Sondheim
Ken Travis - Memphis

As for that list of nominees I believe the Tony nominators will choose, here's some additional background into my thought process.

In the Best Play category, even though I wasn't wowed by In The Next Room (Or The Vibrator Play), I said it would be hard to imagine the Tony nominators not selecting it given it's the only Pulitzer-nominated show in the bunch. But critical darling Next Fall, another play I was not enamored with, could pull an upset and find itself nominated. Red is probably the only real lock on a nomination.

For Best Musical, I said that American Idiot is likely to get a nod from nominators who want to avoid being labeled stodgy. But didn't they already accomplish that in previous years by nominating far superior shows like Spring Awakening, In The Heights and Passing Strange? They'll really be viewed as stodgy if they opt for pablum like Million Dollar Quartet.

Among the potential nominees in the Best Revival of a Play category, Fences is the only sure-thing lock on a Best Play Revival nod, but I expect A View From The Bridge to be nominated, even though I wasn't as mesmerized as the critics.

As for the Best Revival of a Musical, this is the category where it's really a process of elimination given that there were only six choices. Bye Bye Birdie is automatically scratched off the list first. I can't help but think there's still so much remaining favorable sentiment for Ragtime and Finian's Rainbow that Promises, Promises becomes the odd show out.

As for Best Actor in a Play, which has one of the most crowded field of contenders, there's much talk about Liev Schreiber and Christopher Walken being nominated at the expense of Daniel Craig. Sure A Steady Rain was last fall, but surely Tony nominators will not forget the incredible support Broadway Cares/Equity Fights AIDS received from Craig and Hugh Jackman, who together helped make Broadway a fun place to visit near the end of 2009. Since Craig delivered the truly memorable performance losing himself in a thankless role, he'll be rewarded with a nod.

In the Best Actress in a Play category, now that the Tony Administration committee (rightly) ignored precedent that the role of Rose in Fences was a supporting one, expect to see Viola Davis leading the pack here. Jan Maxwell, Laura Linney and Linda Lavin should also be locks.

So dear readers, what are your thoughts? Do you agree with both my picks for who the Tony nominators will select, as well as my own personal preferences?

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: Best New Musicals, Best New Plays, Best Revival of Plays, Best Revivals of Musicals, Tony Awards, Tony Nominations, Tony Predictions, Tony Rules

posted by Steve On Broadway (SOB) @ Friday, April 30, 2010 7 comments

Brighton Beach: Too Soon To Fade To Memories

Brighton Beach: Too Soon To Fade To Memories

The new Broadway revival of Brighton Beach Memoirs that just opened at the top of this week will close Sunday.

Over the past 15 hours, there has been a flurry of slightly varying news items about the future of the show, along with word that the planned production of Broadway Bound originally scheduled to run in repertory with Brighton Beach Memoirs beginning in November would be scuttled.

Last evening at 8:11 p.m. The New York Times' Pat Healy posted the initial scoop noting the production's weak ticket sales:

The production had failed to build a strong advance sale and grossed only about $124,000 for eight performances last week.

A little later last evening, in taking note of Healy's story, Playbill's Kenneth Jones quoted a statement indicating only a "provisional" closing notice had been issued:

The notice can be taken down at any time and no final decision on closing will be made until Monday, Nov. 2, when a statement will be issued.

However, this morning, the fate of Brighton Beach Memoirs appeared to be sealed as noted by The New York Times' Healy in a story posted at 10:08 a.m. Healy quotes producers Emanuel Azenberg and Ira Pittelman from a statement released earlier today:

A lot of nice people on stage and off will be out of work and a lot of good partners and investors will have lost a great deal of money. They all deserve better. It makes us sad.

It would be hard for anyone to say with a straight face that they didn't see this coming. As noted above, ticket sales have been extremely weak. Over the past couple weeks, Brighton Beach Memoirs had been the single lowest-grossing Broadway production by a mile, as well as the one with the lowest average ticket price. For the week ending October 25, the play's average ticket price was a steal at just $21.32.

Personally, having easily scored a front-row seat without paying a premium just a week prior to attending the show, I was hardly shocked by the news. On my Saturday at the Nederlander Theatre, I was surprised by how few people were in the audience.

While I can't say I had not anticipated the closing notice, I am extraordinarily disappointed. I love what David Cromer and his excellent cast have done with Neil Simon's heartfelt material. It is a beautifully executed production deserving to be seen. While most reviews were largely favorable (my own SOB Review was a rave), the one that I concede matters most was mixed with a dash of withering.

While I'm thankful I had an opportunity to see Brighton Beach Memoirs for myself, I'm a little sad that my hopes for seeing what Cromer et al had in store for us with Broadway Bound have been dashed. So excuse me for feeling a little melancholy today.

This is Steve On Broadway (SOB).

Labels: Best Revival of Plays, Brighton Beach Memoirs, Broadway, Closing Notices, David Cromer, Neil Simon, Play

posted by Steve On Broadway (SOB) @ Saturday, October 31, 2009 3 comments

SOB's 2009 Tony Picks

SOB's 2009 Tony Picks

The American Theatre Wing’s 63rd annual Tony Awards ceremonies honor the best of Broadway's 2008-09 Theatrical Season, so it's time for me to place my wagers on those nominees I believe will actually win, as well as tell you whom I think should win.

Unlike last year when I saw every single nominated show, I pulled back on my theatregoing this year because I actually pay for each and every ticket (there were more shows opening this year vs. last, making this an expensive habit for anyone trying to see everything).

Of the 44 new Broadway shows and revivals that opened on the Great White Way during the 2008-09 Theatrical Season, I saw 28 of them - the number increases to 31 if you count my previous viewings of Billy Elliot - The Musical (2005) and God Of Carnage (2008) in London and White Christmas in St. Paul (2006), and even 32 if you count my earlier Off-Broadway viewing of [title of show](2006).

The productions I never had a chance to see before they closed include Cirque Dreams, A Tale Of Two Cities, A Man For All Seasons, American Buffalo, Dividing The Estate or Soul Of Shaolin. Of the current shows, I most likely will not see Irene's Vow, The Philanthropist, Accent On Youth or, sorry to say, Joe Turner's Come And Gone. But I already have post-Tony Award tickets to see both Mary Stuart and Waiting For Godot.

Here are the nominees and my picks (I'm recusing myself from offering any "should wins" if I have not seen all the shows or performances):

Best Play
Dividing The Estate - Horton Foote, Author
God Of Carnage - Yasmine Reza, Author Will win
reasons to be pretty - Neil LaBute, Author
33 Variations - Moises Kaufman, Author

Best Musical
Billy Elliot - The Musical Will win
next to normal Should win
Rock Of Ages
Shrek The Musical

Best Book of a Musical
Billy Elliot - The Musical - Lee Hall Will win
next to normal - Brian Yorkey
Shrek The Musical - David Lindsay-Abaire
[title of show] - Hunter Bell Should win

Best Original Score (Music and/or Lyrics) Written for the Theatre
Billy Elliot - The Musical - Music: Elton John, Lyrics: Lee Hall Will win / Should win
next to normal - Music: Tom Kitt, Lyrics: Brian Yorkey
9 To 5 -The Musical - Music & Lyrics: Dolly Parton
Shrek The Musical - Music: Jeanine Tesori, Lyrics: David Lindsay-Abaire

Best Revival of a Play
Joe Turner's Come And Gone
Mary Stuart
The Norman Conquests Will win
Waiting For Godot

Best Revival of a Musical
Guys And Dolls
Hair Will win / Should win
Pal Joey
West Side Story

Best Special Theatrical Event
Liza's At The Palace Will win
Slava's Snowshow
Soul Of Shaolin
You're Welcome America. A Final Night With George W Bush

Best Performance by a Leading Actor in a Play
Jeff Daniels - God Of Carnage
Raúl Esparza - Speed-The-Plow
James Gandolfini - God Of Carnage
Geoffrey Rush - Exit The King Will win
Thomas Sadoski - reasons to be pretty

Best Performance by a Leading Actress in a Play
Hope Davis - God Of Carnage
Jane Fonda - 33 Variations
Marcia Gay Harden - God Of Carnage Will win
Janet McTeer - Mary Stuart
Harriet Walter - Mary Stuart

Best Performance by a Leading Actor in a Musical
David Alvarez, Trent Kowalik, and Kiril Kulish - Billy Elliot - The Musical Will win
Gavin Creel - Hair
Brian d'Arcy James - Shrek The Musical
Constantine Maroulis - Rock Of Ages
J. Robert Spencer - next to normal

Best Performance by a Leading Actress in a Musical
Stockard Channing - Pal Joey
Sutton Foster - Shrek The Musical
Allison Janney - 9 To 5 - The Musical
Alice Ripley - next to normal Will win / Should win
Josefina Scaglione - West Side Story

Best Performance by a Featured Actor in a Play
John Glover - Waiting For Godot
Zach Grenier - 33 Variations
Stephen Mangan - The Norman Conquests
Paul Ritter - The Norman Conquests
Roger Robinson - Joe Turner's Come And Gone Will win

Best Performance by a Featured Actress in a Play
Hallie Foote - Dividing The Estate
Jessica Hynes - The Norman Conquests
Marin Ireland - reasons to be pretty
Angela Lansbury - Blithe Spirit Will win
Amanda Root - The Norman Conquests

Best Performance by a Featured Actor in a Musical
David Bologna - Billy Elliot - The Musical
Gregory Jbara - Billy Elliot - The Musical
Marc Kudisch - 9 To 5 - The Musical
Christopher Sieber - Shrek The Musical
Will Swenson - Hair Will win

Best Performance by a Featured Actress in a Musical
Jennifer Damiano - next to normal
Haydn Gwynne - Billy Elliot - The Musical
Karen Olivo - West Side Story Will win
Martha Plimpton- Pal Joey
Carole Shelley - Billy Elliot - The Musical

Best Scenic Design of a Musical
Robert Brill - Guys And Dolls
Ian MacNeil - Billy Elliot - The Musical Will win
Scott Pask - Pal Joey
Mark Wendland - next to normal Should win

Best Scenic Design of a Play
Dale Ferguson - Exit The King
Rob Howell - The Norman Conquests Will win
Derek McLane - 33 Variations
Michael Yeargan - Joe Turner's Come And Gone

Best Costume Design of a Play
Dale Ferguson - Exit The King
Jane Greenwood - Waiting For Godot
Martin Pakledinaz - Blithe Spirit
Anthony Ward - Mary Stuart Will win

Best Costume Design of a Musical
Gregory Gale - Rock Of Ages
Nicky Gillibrand - Billy Elliot - The Musical
Tim Hatley - Shrek The Musical Will win / Should win
Michael McDonald - Hair

Best Lighting Design of a Play
David Hersey - Equus
David Lander - 33 Variations
Brian MacDevitt - Joe Turner's Come And Gone
Hugh Vanstone - Mary Stuart Will win

Best Lighting Design of a Musical
Kevin Adams - Hair Will win / Should win
Kevin Adams - next to normal
Howell Binkley - West Side Story
Rick Fisher - Billy Elliot - The Musical

Best Sound Design of a Play
Paul Arditti - Mary Stuart
Gregory Clarke - Equus
Russell Goldsmith - Exit The King Will win
Scott Lehrer and Leon Rothenberg - Joe Turner's Come And Gone

Best Sound Design of a Musical
Acme Sound Partners - Hair
Paul Arditti - Billy Elliot - The Musical
Peter Hylenski - Rock Of Ages
Brian Ronan - next to normal Will win / Should win

Best Direction of a Play
Phyllida Lloyd - Mary Stuart
Bartlett Sher - Joe Turner's Come And Gone
Matthew Warchus - God Of Carnage
Matthew Warchus - The Norman Conquests Will win

Best Direction of a Musical
Stephen Daldry - Billy Elliot - The Musical Will win
Michael Greif - next to normal
Kristin Hanggi - Rock Of Ages
Diane Paulus - Hair Should win

Best Choreography
Karole Armitage - Hair
Andy Blankenbuehler - 9 To 5 - The Musical
Peter Darling - Billy Elliot - The Musical Will win / Should win
Randy Skinner - Irving Berlin's White Christmas

Best Orchestrations
Larry Blank- Irving Berlin's White Christmas
Martin Koch - Billy Elliot - The Musical Will win / Should win
Michael Starobin and Tom Kitt - next to normal
Danny Troob and John Clancy - Shrek The Musical

So fellow theatregoers, do you agree with these picks? Or do you think I'm terribly misinformed? Either way -- or wherever in between -- I invite you to weigh in.

Finally, don't forget that the Tony Awards begin at 7 p.m. EDT Sunday, June 7, although the live CBS telecast starts at 8 p.m.

This is Steve On Broadway (SOB).

Labels: Best Revival of Plays, Best Revivals of Musicals, Broadway, Musical, Play, Tony Awards, Tony Nominations, Tony Predictions

posted by Steve On Broadway (SOB) @ Saturday, June 06, 2009 0 comments

SOB's Best Of 2008-09: Best Play Revivals

SOB's Best Of 2008-09: Best Plays Revivals

During the past year, I've had over 70 opportunities to take in a wide range of musicals, plays and "special theatrical events."

If last year was the "Year of the Play," then this one would have to be the "Year of the Play Revival." Over the last twelve months, I saw 17 revivals of plays of varying degree, but on the whole, an unusually large number of them completely captivated and enthralled me, making this "5 Best" list the toughest to select. And, incredibly enough, I haven't yet seen the well-reviewed revivals of Mary Stuart, Waiting For Godot or presidential favorite Joe Turner's Come And Gone -- all are vying with my favorite show of the year for the Tony in the category of Best Revival of a Play.

No wonder I acted so viscerally when I read that that important honor would be relegated to the pre-Tony telecast this Sunday. With the best shows of the year being revivals, aren't they particularly deserving of prime time love?

UPDATED (6.5.09, 1:50 p.m. EDT): WOW!!! Actor Kevin Spacey tells us via@KevinSpacey: "Great news theatre lovers. Got official word that the Tony Awards have reconsidered and Best Play Revival will now be on the telecast on CBS." That's the best news I've heard today.

So, without any further ado, drumroll, please:



5 - The Cripple Of Inishmaan (Linda Gross Theater, Atlantic Theater Company, New York, New York)

Who would have thought that a play so politically incorrectly named would be so powerfully funny, yet demonstrate heart?

As revived as a joint project by New York's Atlantic Theater Company and Ireland's Druid Theatre Company of Galway, Martin McDonagh's The Cripple Of Inishmaan crackled with wit and pathos. With frequent McDonagh collaborator Garry Hynes at the helm, the two have spun an exceptional yarn. David Pearce was superb as Inishmaan gossip JohnnyPateenMike, who never met a rumor he didn't like to exploit.

McDonagh intrigues with his compassion for humanity. Along with his rich humor, outstanding cast and Hynes' loving direction, this able play easily ranked among the year's better revivals.


4 - Speed-The-Plow (Ethel Barrymore Theatre, New York, New York)

When David Mamet's good, he's just about as stimulating and entertaining as any playwright can be. He's the real deal.

In Neil Pepe's astounding and absorbing revival of Mamet's gutbusting Speed-The-Plow, this is almost as good as it gets.

By the time I saw the show, William H. Macy was the second actor in as many months to take over the juicy role as Bobby Gould. Macy was good, but he couldn't outfox the monumentally stunning Raúl Esparza as Charlie Fox as they sparred over Hollywood scripts and Tinseltown's ability -- or lack thereof -- in making cinematic art. Once again, Esparza is an amazing revelation, a genius consistently delivering an excellent performance and then some.


3 - Ivanov (Wyndham's Theatre, London, United Kingdom)

The Michael Grandage-helmed West End revival of Anton Chekhov's Ivanov was so vibrant and alive with pleasure, brimming with dark humor throughout, that I found myself completely rapt with attention.

With excellent new adaptation from Tom Stoppard, Ivanov was both entertaining and enlightening, soaring with one of the year's best ensembles on either side of the Atlantic. Kenneth Branagh was absolutely brilliant in the title role, but it was the breathtaking Gina McKee who turned in one of the year's most heartfelt performances, radiating enough warmth to melt the icy bitterness from any Russian town, past or present.

With uniformly scintillating performances from a sterling cast that didn't take itself too seriously, there's no doubt why Donmar Warehouse's superb Ivanov was the West End's must-see sensation this fall.



2 - Our Town (Barrow Street Theatre, New York, New York)

Hands-down, the best show I had seen all year -- that is, right up until I caught the show at number one. Thornton Wilder’s classic stage drama Our Town has never looked better.

Stripped down to its bare essentials by director David Cromer, this exquisite revival moves all about the audience with an unforced urgency. It's hard to imagine live theatre could get anymore intimate than this. Wilder’s heartfelt words never seemed truer or more genuine, which is refreshing considering how Michele Spadaro's deceptively spare stage design gives way to one last breath of real life, which itself ultimately proves a veritable feast for and in all senses.

Making the case against living in the past, this mind-blowing production simply can’t be missed.


1 - The Norman Conquests (The Circle in the Square Theatre, New York, New York)

Alan Ayckbourn's uproariously hilarious The Norman Conquests cuts with remarkable, exacting precision, but it also slices and dices its six fully-rounded characters in this jujitsu of love.

Just when you think you have the first portion of this trilogy figured out, one intriguing layer after another is carefully stripped away to reveal more of Ayckbourn's intricately woven story. Each character's motives are eventually cut to the core. And they aren't necessarily what they seem.

Matthew Warchus' brilliant direction of each installment -- Table Manners, Living Together and Round And Round The Garden -- makes each story accessible and comprehensible in its own right. Yet it's only after seeing all three that all the complex pieces truly come together as an unequivocal masterpiece.

Rising to the challenge of Ayckbourn's pure genius, Warchus helms an excellent cast offering a breathtaking master class in nuanced ensemble acting. Each actor so fully inhabits his or her character that their exceptional use of body language is amplified just as effortlessly as their voices.

Not only did I find myself on the edge of my seat, but miraculously, I found myself not wanting it ever to end. It's every bit as funny as it is sublime. The Norman Conquests is the best show on Broadway or anywhere else I've been over the last year.


So what were the best 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).

Labels: Best Revival of Plays, Broadway, Ivanov, London, Off-Broadway, Our Town, Play, SOB's Best of 2008-09, Speed-The-Plow, The Cripple Of Inishmaan, The Norman Conquests

posted by Steve On Broadway (SOB) @ Friday, June 05, 2009 0 comments

LuPone's Mama Rose, Part 3?

LuPone's Mama Rose, Part 3?

Don't look now, but according to New York Post 's Michael Riedel, a Broadway re-turn for Mama Rose could be in the offing.

After this year's musical chairs of musical theatres took place -- with How The Grinch Stole Christmas co-opting Young Frankenstein's place at the St. James Theatre -- it meant that after the Holidays, the St. James will be vacant and available after January 6, 2008.

Riedel says that a decision is close at hand that would bring Arthur Laurents' Gypsy with Patti LuPone to the Great White Way. Laurents, of course, not only wrote Gypsy's quintessential show business book on how Gypsy Rose Lee became a star, but this past summer, he directed LuPone's second turn as Mama Rose at New York City Center's Encores!

Riedel states:

Roger Berlind, the courtly producer behind Curtains, is spearheading the move, which will cost about $9 million, a high price tag for a revival. Also in the mix is The Frankel Group, which produced The Producers and Hairspray.

"They're teetering on a decision this week," says a source involved in the negotiations.

Agents for such cast members as Tony winner Boyd Gaines and the wonderful Laura Benanti have been asked to keep their clients free for what would be a limited engagement through the summer.

This would mark the fourth Broadway revival of Gypsy and the second time a revival of the hit would tread the boards of the St. James; the celebrated 1989 revival with Tyne Daly performed there before moving to the Marquis Theatre in 1991. A new revival would come very close on the heels of the 2003 revival starring Bernadette Peters -- which, for the record, I did enjoy.

But to be honest, that was nothing compared to how "wowed" -- make that blown away -- I was last summer when Patti LuPone took to the stage as Mama Rose at Chicagoland's Ravinia Festival. The prospect of seeing what I believe is Broadway's best musical ever come back with Patti LuPone lording over it is nothing short of the most exciting news I've read this year.

This is Steve On Broadway (SOB).

Related Stories:
At 90, Laurents Has Still "Got It" (July 27, 2007)
Everything's Coming Up Patti! (July 9, 2007)
SOB's Best Of 2006-07: Top Ten Of The Year (June 4, 2007)
SOB's Best Of 2006-07: Best Revivals Of Musicals (May 18, 2007)
It's Official: LuPone's Triumph Earns Encores! (March 19, 2007)
Will Encores Mount All-Star Gypsy? (March 2, 2007)
SOB's 6 Singular Sensations Of '06 - #1: Patti LuPone (December 30, 2006)
Gypsy (The SOB Review) (August 14, 2006)

Labels: Arthur Laurents, Best Revival of Plays, Broadway, First Word On New Show, Gypsy, Michael Riedel, Musical, Patti LuPone

posted by Steve On Broadway (SOB) @ Wednesday, October 03, 2007 5 comments

How To Get Out Grease

How To Get Out Grease

Ever wonder how shows generating only so-so critical success suddenly overcome with their own hype in hand? Why, they take certain liberties with critics' quotes and make all seem right with the world. Even if it's not right in any sense of the word.

And since lots of recent hype has been saying again that Grease is once again "the word" -- that is, with the exception of most critics -- it's curious that the print ad (left) created for the much-maligned musical was allowed to run in the first place. It went even further than most deceptive ads with its fundamentally specious tone.

New York' Daily News theatre critic Joe Dziemianowicz, for one, has had it. The ad audaciously included his publication's graphic, along with those of several other media outlets ranging from New York magazine to USA Today. The implication, of course, was that as "The One That I Want!" screamed above each outlet name, critics from each one had provided a glorious review.

Dziemianowicz rightly proclaims, "Deceit is the word."

Shame on Serino-Coyne (a theatre advertising agency), Grease producers (Paul Nicholas, David Ian, Nederlander Presentations, Inc. and Terry Allen Kramer) and theatre publicists at Barlow-Hartman for creating the extremely deceptive $10,000 ad. Thankfully, it was pulled almost as fast as it appeared. Now one wonders whether the stage show will suffer the same fate.

Hat tip to Playgoer.

This is Steve On Broadway (SOB).

Labels: Advertising, Best Revival of Plays, Broadway, Deceptive Practices, Grease, Musical, New York Daily News

posted by Steve On Broadway (SOB) @ Friday, August 24, 2007 0 comments

SOB's Best Of 2006-07: Best Revivals Of Plays

SOB's Best Of 2006-07: Best Revivals Of Plays

Over the past year, I've had an opportunity to see many outstanding revivals of plays throughout the United States as well as abroad. Here's my personal "5 Best" list of the revivals I'm thankful I had a chance to see:

1 - The Real Thing (McGuire Proscenium Stage, Guthrie, Minneapolis, MN)

With some of the sharpest, wittiest writing among plays of the past quarter century, The Real Thing was the real deal when it was presented late last summer as the first regular production in the new Guthrie’s McGuire Proscenium Stage. Tom Stoppard’s excellent London-based comedy on the meaning of true love was both imminently smart and deliciously accessible under Joe Dowling’s expert direction, as well as through its superb ensemble, including Jay Goede (Henry), Kathryn Meisle (Annie), Sally Wingert (Charlotte), Lee Mark Nelson (Max), Jonas Goslow (Billy), Elizabeth Stahlmann (Debbie) and Mike Rasmussen (Brodie).

Goede was in top form and exceptionally convincing as Henry, the “old sod” playwright who doesn’t readily show his emotions or affections. Yet when he did -- with the absolutely poetic language Stoppard speaks through Henry -- his dialogue was as romantic as it gets. Goede was breathtaking to watch. Meisle was every bit Goede’s equal and displayed raw emotions through her luminescent, expressive eyes.

The Real Thing was a joy to behold and proved to be a great harbinger of things to come for the new Guthrie as some of my other top picks will support. (Meisle and Goede are pictured above, courtesy of Guthrie.)

Click here for The SOB Review of The Real Thing.


2 - The Prime Of Miss Jean Brodie (Acorn Theatre, New York, NY)

While maligned by some critics, I was absolutely spellbound by Jay Presson Allen’s pre-World War II drama The Prime Of Miss Jean Brodie when it was given a hauntingly beautiful revival by The New Group under Scott Elliott’s exquisite direction. In it, Cynthia Nixon offered one of her most nuanced, breathtaking performances ever. Nixon was mesmerizing as teacher Jean Brodie, whose romanticized visions of how the world should be ordered are at once both gorgeous and grotesque.

In a stunning, breakthrough performance, the brilliant Zoe Kazan played Brodie's student Sandy, who undermined her teacher's grand plans and in the process threatened her long tenure with the school. Throughout the course of the play, Nixon expertly peeled back each layer of Brodie to reveal a shockingly fascist and sanctimonious soul whose fascination with Benito Mussolini, Adolph Hitler and Francisco Franco imperiled not only her position, but also one of her students.

Through Brodie, we saw how easily impressionable minds can be swept up by charismatic leaders in following a perilous course, and in these dangerous times, the allegory remains every bit as valid today. The ensemble in this excellent production was nothing short of exceptional and helped make The Prime Of Miss Jean Brodie, hands-down, one of the best plays I've seen over the past year.

Click here for The SOB Review of The Prime Of Miss Jean Brodie.


3 - A Moon For The Misbegotten (Brooks Atkinson Theatre, New York, NY)

Less than two weeks ago, I finally caught Eugene O’Neill’s spectacular A Moon For The Misbegotten for the first time. To say I was completely enthralled by Howard Davies’ mesmerizing, profoundly moving, and yes, even entertaining production -- as well as by the intensity of the three principal actors -- would be an understatement. Colm Meaney, Eve Best and Kevin Spacey are all brilliant.

Best is nothing short of a revelation in offering the production's most nuanced performance; the diminutive actress may not quite be the cow O’Neill originally envisioned, but her forceful take on Josie makes her a woman whom men should challenge at their own peril.

What I found so captivating about Spacey’s ultimately heartbreaking portrayal is that, as the eternal actor and kidder, Jim Tyrone has little choice but to mask over the truth and shame he feels deep in his soul by putting up a front of frivolity. That and the refuge he takes in the bottle essentially provide him the sole remaining means by which he can bear to live with himself. Together, Best and Spacey are as symbiotic as any two actors I’ve witnessed, and they provide one of the most astonishing and affecting hours I’ve experienced from live theatre all year.

Click here for The SOB Review of A Moon For The Misbegotten.


4 - The Diary Of Anne Frank (Steppenwolf Downstairs Theatre, Chicago, IL)

Director Tina Landau succeeds in building the current Steppenwolf revival of The Diary Of Anne Frank into an engrossing, near pitch-perfect production. The real-life source material may already be 63 years old, but Landau brings a haunting brilliance to the time-honored dramatization by taking takes chances that ultimately pay off, including enabling the story to move beyond the play's previous conclusion in such a striking fashion that there were audible gasps from the audience. Landau triumphs in proving why this timeless classic deserves to be retold yet again.

This extraordinary production is also blessed by an exceptional ensemble, each of whom turns in a profoundly moving performance. Chief among them are the absolutely astounding Claire Elizabeth Saxe in the title role and a spectacularly measured performance by Yasen Peyankov as her father. Right before your eyes, Saxe's maturation as Anne, physically and emotionally, is palpable. You won't believe you're watching a current high school senior -- she's that good. As for Peyankov, by scaling his performance so astonishingly, he becomes the heart of this production.

This is a production that deserves to be seen, not only by those who don't understand the extent of the Nazis' savageries, but also for anyone who yearns for a deeper appreciation of the galvanic capabilities provided by the young Anne Frank's words, which remain as vital today as ever.

Click here for The SOB Review of The Diary Of Anne Frank.


5 - The Glass Menagerie (McGuire Proscenium Stage, Guthrie, Minneapolis, MN)

If there's a common thread among my five favorites, it's the daring to re-imagine respected and time-honored works into accessible theatre for today's audiences. Another prime example was in yet another Joe Dowling-helmed revival, this time via Tennessee Williams' The Glass Menagerie. Shaking this play to its core, Dowling's split the Williamsesque Tom Wingfield in two with Randy Harrison portraying the younger Tom, while Bill McCallum tackled the older one. And it succeeded.

But if there was an actual force that lingered, even when she wasn't on the stage, it was Harriet Harris as Tom's manic mother Amanda. Harris erupted with a volatile mix of authentic neurosis and delusional charm to make you believe she understood the archetype Williams intended perfectly. An actor's actor if ever there was one, Harris mastered this role with clarity and precision, even when she wasn't speaking a word. Hers was one of the best performances I saw all year.

There was much to recommend in Dowling's insightful, respectful and surprisingly entertaining production, and near as I could figure, none of Williams' beautifully poetic language had been altered. Dowling's dramatic tinkerings made for a very chilling evening that actually illuminated the darkest parts of Williams' soul. To me, that's the mark of a great production.

Click here for The SOB Review of The Glass Menagerie.

Honorable Mentions:

Two revivals from the last year are very deserving of honorable mentions:

• K2 (Jungle Theatre, Minneapolis, MN) -- Director Bain Boehlke succeeds in ascending to the apex with this chilling and riveting revival of Patrick Meyers' K2. This is without question the best production I've seen at Minneapolis' intimate Jungle Theatre. Despite its scant running time of 90 minutes (including one 15 minute intermission), K2 is an adventurous and towering achievement worth the plunge. (Click here for The SOB Review of K2)
• Lost In Yonkers (Wurtele Thrust Stage, Guthrie, Minneapolis, MN) -- While many of Neil Simon’s plays are known for their broader humor, Lost In Yonkers is much more introspective and personal, succeeding with subtle, sophisticated wit and charm. Thanks in no small part to Gary Gisselman's expert, deliberate direction, Lost in Yonkers was particularly winning in making us understand that under Grandma Kurnitz's (Rosaleen Linehan) tough, crusty exterior lies a human being, complete with heart, after all.
  

What were the best revivals of plays you saw over the past year? I invite you to join the conversation by sharing your theatre experiences with me.

Also, don't forget to vote for the shows you believe will win in each of the four major Tony Award categories: Best Musical, Best Play, Best Revival of a Musical and Best Revival of a Play. You'll find all four polls on the right-hand side of Steve On Broadway.

This is Steve On Broadway (SOB).

Click here for tickets to A Moon For The Misbegotten (playing through June 10)
Click here for tickets to K2 (playing through May 20).
Click here for tickets to The Diary Of Anne Frank (playing through June 10)
Related Stories:
The SOB Five "Worst" Of 2006-07 (May 14, 2007)
SOB's Best & Worst Of 2006-07 Theatre Season (May 14, 2007)
SOB's Best of 2005-06: #1 - Theater Of The New Ear (May 30, 2006)
SOB’s Best of 2005-06: #2 – Guys And Dolls (May 26, 2006)
SOB’s Best of 2005-06: #3 – Hedda Gabler (May 25, 2006)
SOB’s Best of 2005-06: #4 – A Blameless Life (May 24, 2006)
SOB’s Best of 2005-06: #5 – Reeling (May 23, 2006)
SOB’s Best of 2005-06: #6 – “MASTER HAROLD”…And The Boys (May 21, 2006)
SOB’s Best of 2005-06: #7 – Love Song (May 19, 2006)
SOB's Best of 2005-06: #8 - Billy Elliot The Musical (May 18, 2006)
SOB's Best of 2005-06: #9 - The Well-Appointed Room (May 17, 2006)
SOB's Best of 2005-06: #10 - Sweeney Todd (May 15, 2006)
SOB's Best and Worst of 2005-06 Theatre Season (May 12, 2006)
Flashback: Best of 2004-05 (May 26, 2006)
Flashback: Best of 2003-04 (May 25, 2006)
Flashback: Best of 2002-03 (May 25, 2006)
Flashback: Best of 2001-02 (May 24, 2006)
Flashback: Best of 2000-01 (May 23, 2006)

Labels: A Moon For The Misbegotten, Best Revival of Plays, K2, Lost In Yonkers, SOB's Best of 2006-07, The Diary Of Anne Frank, The Glass Menagerie, The Prime Of Miss Jean Brodie, The Real Thing

posted by Steve On Broadway (SOB) @ Wednesday, May 16, 2007 2 comments