SOB's Favorite Shows Of The Noughties: #23 - Grey Gardens (2007, Walter Kerr Theatre, New York, New York)
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. As the most sublime show of its year,
Grey Gardens easily ranked as my choice for Best Musical. This unconventional yet completely satisfying tuner was a triumph of the first order.
Arguably at the height of her distinguished career,
Christine Ebersole's virtuoso performance in
Grey Gardens remains one that I can still vividly recall. Ebersole more than masterfully channeled both Edith and Little Edie Bouvier Beales of the funny-if-it-weren’t-so-tragic
seventies documentary of the same name.
What could have been played for sheer parody was instead transformed into a poignant, modern tragedy, where pathetic dismissal gave way to empathy. Credit
Michael Greif's brilliant direction,
Mary Louise Wilson’s powerful Edith and Ebersole’s heartwrenching Little Edie.
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In keeping with the new that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for this performance.Labels: Broadway, Christine Ebersole, Grey Gardens, Mary Louise Wilson, Michael Greif, Musical, SOB's Favorite Shows Of The Noughties
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.
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Labels: August Osage County, Blithe Spirit, Broadway, Christine Ebersole, color blind casting, Jayne Atkinson, Rupert Everett, Sally Murphy
Blithe Spirit (The SOB Review) - Shubert Theatre, New York, New York*** (out of ****)Talk about truth in advertising. With a virtuoso performance by one of the greatest stage actors of our time,
Noël Coward's
Blithe Spirit certainly lives up to its name.
Any chance to see
Angela Lansbury tread the boards is more than worth the effort. But as Madame Arcati, the legend effortlessly demonstrates the merry agility and grace of someone half her age. Lansbury packs more acting into her seemingly simple expressions and nimble, free-spirited movements than many actors exhibit in a lifetime.
Fortunately, Lansbury shares the stage of
Blithe Spirit with a top drawer cast, including
Rupert Everett (in his dashing Broadway debut as novelist Charles),
Jayne Atkinson (hilarious as his second wife Ruth) and
Christine Ebersole (luminous as Charles' deceased wife Elvira, who's not only been summoned from the dead by Madame Arcati during a seance, but she refuses to leave).
Initially, Coward's comedy made its West End debut a mere two months after the infamous Nazi
Blitz on the United Kingdom had ended. Britain had suffered through nine devastating months of bombings that killed more than 43,000, half of them in London. No wonder audiences at the time were so eager to embrace such a mirthful show, even one that used the dead to liven spirits.
Fast forward 68 years to the current production.
Michael Blakemore's steady direction has polished the "improbable farce" up nice and shiny. And with its sterling cast, the resurrected
Blithe Spirit sparkles anew for today's audiences needing a perfect escape.
This is Steve On Broadway (SOB).
Labels: Angela Lansbury, Blithe Spirit, Christine Ebersole, Jayne Atkinson, Michael Blakemore, Noel Coward, Play, Revival, Rupert Everett, The SOB Review
More Than In Spirit: Ebersole Will Be Back On BroadwayWith the nation, let alone the world, holding its collective breath as our do-nothing Congress apparently has yet to grasp that the entire global economy is on the line, it was a relief to read a
welcome message providing some modicum of escape.
Christine Ebersole is returning to the Great White Way in an improbable farce:
Blithe Spirit. Ebersole will portray the eponymous ghost named Elvira.
This will mark the second Broadway revival for
Noël Coward's three act farce, which made
its Rialto debut on the cusp of America's entry into World War II on November 5, 1941. It was a celebrated and -- given the time, no doubt -- a most welcome success that not only lasted 657 performances at both the
Morosco Theatre and
Booth Theatre, but managed to enjoy a
return engagement of another 32 performances at the Morosco with four of its original principals --
Mildred Natwick,
Philip Tonge,
Clifton Webb and
Peggy Wood -- intact.
Leonora Corbett portrayed Elvira in the first incarnation, while
Haila Stoddard haunted the latter.
The
first revival of
Blithe Spirit was mounted at the
Neil Simon Theatre in March 1987. Under
Brian Murray's direction, the production lasted a mere 104 performances. In a bit of serendipitous casting, the production starred
Blythe Danner as the Blithe Spirit, alongside such talent as
Richard Chamberlain,
Judith Ivey and
Geraldine Page, who received a Tony nomination.
While the rest of the cast has yet to be announced,
Michael Blakemore is set to direct the production that will begin previews on February 26 and open in March at a Shubert Theatre "to be determined."
Any chance I have to enjoy a little mirth during a time of crisis sounds good to me, and even better, I can't wait to see Ebersole perform again. My only question here is this. Whatever
did happen to those
announced plans to mount
Grey Gardens in London?
This is Steve On Broadway (SOB).
Labels: Blithe Spirit, Broadway, Christine Ebersole, First Word On New Show, Michael Blakemore, Noel Coward, Play, Revival
The Epitome Of The Word TrouperAbout as true to her role of
Margo Channing as can be, apparently
nothing is going to keep the amazing
Christine Ebersole from her commitment to
Applause at
New York City Center Encores! this weekend. I only wish I could be there...
Talk about
true star power. Miss Ebersole proves yet again that she's a consummate actress who believes that the show must go on. She has my utmost admiration and unflagging applause.
Now, here's to your good health!
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Click here for tickets.Related Stories:SOB's 7 Singular Sensations Of '07 - #2: Christine Ebersole (December 30, 2007)
Labels: Applause, Christine Ebersole, Musical, New York City Center, Off-Broadway, Revival
SOB's 7 Singular Sensations Of '07 - #2: Christine EbersoleIntroduction: While others use the end of the year to provide their lists of the top shows of the past year, here at Steve On Broadway (SOB), I wait until the conclusion of the entire Theatrical Season to provide my official tally.
Instead, I'm once again devoting the waning days of the calendar year to celebrate SOB's Singular Sensations -- those magical live performances that have stayed with me throughout the year. During 2007, I have enjoyed, been wowed and ultimately inspired by a dazzling display of excellent performances from some of the theatre world's best actors, singers and dancers of our time.Like
Spring Awakening, the quirky musical
Grey Gardens began its life Off-Broadway in 2006 before transferring to the Great White Way later in the same year. In the case of
Grey Gardens, it was a completely transformed show.
But my first opportunity to see this superb little gem of a show finally came in February. Talk about worth the wait -- I was so transfixed by this musical that it ranked as
my favorite show during the entire 2006-07 Theatrical Season.
The primary reason I loved this show so much was due to the two excellent performances that would ultimately be rewarded with a richly deserved Tony Award (make that three when you count the marvelous
Mary Louise Wilson). Both were offered by the astonishing
Christine Ebersole as she portrayed both Edith and Little Edie Bouvier Beale -- the real-life relatives of former First Lady Jacqueline Bouvier Kennedy Onassis -- whose fall from grace to utter squalor made for the most unlikeliest of Broadway musicals.
Here's
what I had to say last February about Ebersole's nuanced performances:
Grey Gardens can hardly be called a “feel good” show. So why did I find myself feeling better than "good" after (finally) taking in a performance of this sublime show?
Two words: Christine Ebersole.
The incredibly talented Ebersole has proven she's at the height of her career. Her virtuoso performance in Grey Gardens is one that I'll never forget.
Mind you, I’m not one to voluntarily stand up and cheer reflexively. Personally, I find that the standing O is grossly overused and should be strictly reserved for only the best of the best. Not only did I leap to my feet upon Ebersole’s curtain call, but I found the extremely rare “bravo” freely coming from my heart and passing through my lips.
In Grey Gardens, Ebersole more than masterfully channels both Edith and Little Edie Bouvier Beales of the funny-if-it-weren’t-so-tragic seventies documentary of the same name. She luminously inhabits mother Edith in act one and then incredibly suspends any disbelief that you are watching anyone but the real Little Edie in the second act. Right before your eyes, a radiant and breathtaking Ebersole becomes Little Edie.
I've now had several opportunities to see Ebersole show her stuff on Broadway -- although I may be one of the few who actually remember her, and quite fondly at that, from her brief stint on "
Saturday Night Live" back during the 1981-82 season).
The first time I saw her on stage came in her terrific performance in the superb 2000 revival of
Gore Vidal's The Best Man, as well as in her Tony-winning turn as Dorothy Brock in the 2001 revival of
42nd Street. She imbues every role with such style, wit and panache, but
Grey Gardens proves she truly
is at the height of her distinguished career.
Here's a toast to the Tony-winning singular sensation, Christine Ebersole! May you enjoy every bit as much success and more when your show completes its transfer to London.
This is Steve On Broadway (SOB).
Related Stories:SOB's 7 Singular Sensations Of '07 - #3: Amy Morton (December 29, 2007)
SOB's 7 Singular Sensations Of '07 - #4: Elena Roger (December 28, 2007)
SOB's 7 Singular Sensations Of '07 - #5: Raúl Esparza (December 28, 2007)
SOB's 7 Singular Sensations Of '07 - #6: John Gallagher, Jr. (December 28, 2007)
SOB's 7 Singular Sensations Of '07 - #7: Jennifer Holliday (December 27, 2007)
SOB's Best Of 2006-07: Top Ten Of The Year (June 4, 2007)
SOB's Best Of 2006-07: Best New Musicals (May 22, 2007)
Grey Gardens (The SOB Review) (February 25, 2007)
SOB's 6 Singular Sensations Of '06 - #1: Patti LuPone (December 30, 2006)
Honorable Mentions: SOB's Singular Sensations Of '06 (December 30, 2006)
SOB's 6 Singular Sensations Of '06 - #2: Cate Blanchett (December 30, 2006)
SOB's 6 Singular Sensations Of '06 - #3: Chita Rivera (December 29, 2006)
SOB's 6 Singular Sensations Of '06 - #4: Barry Humphries (December 28, 2006)
SOB's 6 Singular Sensations Of '06 - #5: Kitty Carlisle Hart (December 28, 2006)
SOB's 6 Singular Sensations Of '06 - #6: Meryl Streep (December 26, 2006)
Labels: 42nd Street, Broadway, Christine Ebersole, Grey Gardens, Musical, SOB's 6 Singular Sensations Of '06, SOB's 7 Singular Sensations of '07, The Best Man
Grey Gardens Fades To Black Later This Month
The brilliant musical depiction of Edith Bouvier Beale and her daughter "Little" Edie earned ten Tony nominations and took home three awards, including for the breathtaking performances offered by both
Christine Ebersole and
Mary Louise Wilson. Just last Thursday, it was announced that Wilson would be leaving the production when her contract expires -- also on July 29.
The box office hasn't been too shabby since the Tonys. While last week's capacity of 85.9% was down slightly, it's still a respectable number. In fact, its gross was actually up week over week to $465,615.
The looming question now is whether Grey Gardens can find greener pastures on the other side of the pond when the production transfers to London with Ebersole in tow sometime during the course of the new theatrical season.
If you haven't already had the opportunity to see Grey Gardens on Broadway, make sure you get there this month!
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Related Stories:
Labels: Broadway, Christine Ebersole, Closing Notices, Grey Gardens, Mary Louise Wilson, Musical
TONYS: SPRING HAS SPRUNG WHILE COAST REALIZES UTOPIA
Perhaps the biggest surprise in this year's
Tonys was the lack of surprises. As expected,
Spring Awakening fully blossomed by nabbing 8 Tonys, including for Best Musical, while
The Coast Of Utopia easily coasted to nirvana with a record seven major awards for a play, including for Best Play.
I'm beyond euphoric that the lovely Christine Ebersole won for
Grey Gardens, and I'm pretty thrilled that her co-star Mary Louise Wilson won the award for Best Featured Actress in a Musical. But I'm also ecstatic that the young John Gallagher, Jr. received an honor for his amazing performance in
Spring Awakening.
While I pooh-poohed the idea that Julie White from
The Little Dog Laughed would win the Tony for Best Performance by an Actress in a Play, she did turn in a stellar, star-making performance worthy of recognition. And while I personally was rooting for Raúl Esparza to be honored for his virtuoso performance in
Company, I can't think of a better alternative this year than the graceful David Hyde Pierce in
Curtains.
The 2006-07 Tony nominees and winners include:
Best Play
The Coast of Utopia (Tom Stoppard, author)
Frost/Nixon (Peter Morgan)
The Little Dog Laughed (Douglas Carter Beane, author)
Radio Golf (August Wilson, author)
Best Musical
Curtains
Grey Gardens
Mary Poppins
Spring Awakening
Best Book of a Musical
Curtains - Rupert Holmes & Peter Stone
Grey Gardens - Doug Wright
Legally Blonde The Musical - Heather Hach
Spring Awakening - Steven Sater
Best Original Score (Music and/or Lyrics) Written for the Theatre
Curtains - Music: John Kander; Lyrics: Fred Ebb, John Kander & Rupert Holmes
Grey Gardens - Music: Scott Frankel; Lyrics: Michael Korie
Legally Blonde The Musical - Music & Lyrics: Laurence O'Keefe and Nell Benjamin
Spring Awakening - Music: Duncan Sheik; Lyrics: Steven Sater
Best Revival of a Play
Inherit the Wind
Journey's End
Talk Radio
Translations
Best Revival of a Musical
The Apple Tree
A Chorus Line
Company
110 in the Shade
Best Special Theatrical Event
Jay Johnson: The Two and Only!
Kiki & Herb Alive on Broadway
Best Performance by a Leading Actor in a Play
Boyd Gaines, Journey's End
Frank Langella, Frost/Nixon
Brían F. O'Byrne, The Coast of Utopia
Christopher Plummer, Inherit the Wind
Liev Schreiber, Talk Radio
Best Performance by a Leading Actress in a Play
Eve Best, A Moon for the Misbegotten
Swoosie Kurtz, Heartbreak House
Angela Lansbury, Deuce
Vanessa Redgrave, The Year of Magical Thinking
Julie White, The Little Dog Laughed
Best Performance by a Leading Actor in a Musical
Michael Cerveris, LoveMusik
Raúl Esparza, Company
Jonathan Groff, Spring Awakening
Gavin Lee, Mary Poppins
David Hyde Pierce, Curtains
Best Performance by a Leading Actress in a Musical
Laura Bell Bundy, Legally Blonde The Musical
Christine Ebersole, Grey Gardens
Audra McDonald, 110 in the Shade
Debra Monk, Curtains
Donna Murphy, LoveMusik
Best Performance by a Featured Actor in a Play
Anthony Chisholm, Radio Golf
Billy Crudup, The Coast of Utopia
Ethan Hawke, The Coast of Utopia
John Earl Jelks, Radio Golf
Stark Sands, Journey's End
Best Performance by a Featured Actress in a Play
Jennifer Ehle, The Coast of Utopia
Xanthe Elbrick, Coram Boy
Dana Ivey, Butley
Jan Maxwell, Coram Boy
Martha Plimpton, The Coast of Utopia
Best Performance by a Featured Actor in a Musical
Brooks Ashmanskas, Martin Short: Fame Becomes Me
Christian Borle, Legally Blonde The Musical
John Cullum, 110 in the Shade
John Gallagher, Jr., Spring Awakening
David Pittu, LoveMusik
Best Performance by a Featured Actress in a Musical
Charlotte d'Amboise, A Chorus Line
Rebecca Luker, Mary Poppins
Orfeh, Legally Blonde The Musical
Mary Louise Wilson, Grey Gardens
Karen Ziemba, Curtains
Best Scenic Design of a Play
Bob Crowley & Scott Pask, The Coast of Utopia
Jonathan Fensom, Journey's End
David Gallo, Radio Golf
Ti Green and Melly Still, Coram Boy
Best Scenic Design of a Musical
Bob Crowley, Mary Poppins
Christine Jones, Spring Awakening
Anna Louizos, High Fidelity
Allen Moyer, Grey Gardens
Best Costume Design of a Play
Ti Green and Melly Still, Coram Boy
Jane Greenwood, Heartbreak House
Santo Loquasto, Inherit the Wind
Catherine Zuber, The Coast of Utopia
Best Costume Design of a Musical
Gregg Barnes, Legally Blonde The Musical
Bob Crowley, Mary Poppins
Susan Hilferty, Spring Awakening
William Ivey Long, Grey Gardens
Best Lighting Design of a Play
Paule Constable, Coram Boy
Brian MacDevitt, Inherit the Wind
Brian MacDevitt, Kenneth Posner and Natasha Katz, The Coast of Utopia
Jason Taylor, Journey's End
Best Lighting Design of a Musical
Kevin Adams, Spring Awakening
Christopher Akerlind, 110 in the Shade
Howard Harrison, Mary Poppins
Peter Kaczorowski, Grey Gardens
Best Direction of a Play
Michael Grandage, Frost/Nixon
David Grindley, Journey's End
Jack O'Brien, The Coast of Utopia
Melly Still, Coram Boy
Best Direction of a Musical
John Doyle, Company
Scott Ellis, Curtains
Michael Greif, Grey Gardens
Michael Mayer, Spring Awakening
Best Choreography
Rob Ashford, Curtains
Matthew Bourne and Stephen Mear, Mary Poppins
Bill T. Jones, Spring Awakening
Jerry Mitchell, Legally Blonde The Musical
Best Orchestrations
Bruce Coughlin, Grey Gardens
Duncan Sheik, Spring Awakening
Jonathan Tunick, LoveMusik
Jonathan Tunick, 110 in the Shade
Regional Theatre Tony Award
Alliance Theatre (Atlanta, GA)
Since I was quite literally in the air during the entirety of the Tony Awards (I flew from Beijing to Tokyo, where I'm currently writing this story), I have no idea how well the performances of highlighted shows were received (thankfully, one good friend and reader from Providence promised she'd Tivo the proceedings for me!), but here's hoping that many first-time Tony viewers were inspired enough to make their first pilgrimage to Broadway to see why this art form is so enduring.
Congratulations to all the winners!
This is Steve On Broadway (SOB).
Labels: Broadway, Christine Ebersole, Grey Gardens, Musical, Play, Revival, Spring Awakening, The Coast Of Utopia, Tony Awards, Tony Nominations
West End To Open New Gardens Of The Grey Variety
Move over Leicester Square and Covent Garden. There's a new property considerably more grey that's about ready to move into your West End neighborhood.
Today, it was announced that the Broadway musical
Grey Gardens -- which yesterday received ten Tony Award nominations, including for Best Musical -- will take to the London stage sometime during the 2007-08 Theatrical Season. Even better news is that
Christine Ebersole will re-create her roles as both Edith and Little Edie Bouvier Beales (she's currently under contract with the Broadway production until October). As
I've previously noted quite enthusiastically, Ebersole deserves the Tony for her stunning, virtuoso performance.
The producers also confirmed plans for a North American tour. Stay tuned for more casting news on both the London and touring productions.
Also, don't forget to vote in the current SOB Poll that asks you to name the shows that you believe will win the Tony for 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 column of Steve On Broadway.
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Labels: Broadway, Christine Ebersole, Film, First Word On New Show, Grey Gardens, London, Musical, SOB Poll, Touring Production
A Matter Of TasteThe latest issue of
Forbes includes
its annual listing of "The Tastemakers" for "affecting the way we read, eat, listen and live."
Fortunately (no pun intended, of course), the publishers know their well-heeled demographic includes a higher number of theatre lovers per capita, so they've devoted
one of their top ten lists to those individuals whom they deem as having had the most impact on Broadway.
While the selection process may seem a bit dubious -- they "chatted with producers and professors, critics and industry experts; studied media coverage; and looked to see who lined their bookshelves with the most awards" -- the results are certainly interesting:
- Scott Sanders, Producer (The Color Purple)
- Harry Connick Jr., Actor (The Pajama Game)
- Des McAnuff, Director (Jersey Boys)
- Judy Craymer, Producer (Mamma Mia!)
- Duncan Sheik, Composer (Spring Awakening)
- John Doyle, Director (Sweeney Todd)
- Bob Crowley, Designer (The History Boys)
- Christine Ebersole, Actress (Grey Gardens)
- Oprah Winfrey, Producer (The Color Purple)
- Bob Martin, Actor and Author (The Drowsy Chaperone)
Does it really matter that exactly 40% of the above list walked home with Tony Awards last year? Or that the producer (
Marc Platt) behind last year's biggest and ever-expanding hit
Wicked was excluded? Or that the playwright (
Tom Stoppard) of the year's most talked about drama
The Coast Of Utopia was nowhere to be found? Or that the producers (
Barry and Fran Weissler) of the
Chicago revival that celebrated its tenth anniversary weren't even provided an honorary mention? Of course not. It's
Forbes' list and their editors can write it up anywhere they please.
To their credit, the
Forbes editors were careful to note Broadway's banner year that attracted nearly 12 million theatregoers who collectively shelled out a total of $906 million. That's an average ticket price of $75.50.
But it's more than the Great White Way's big money that's attracted the magazine's attention. The writers of the "Tastemaker" list provide an appropriate nod to theatre's intrinsic and lasting allure: "[W]hatever the thrills of the small and big screens, there is a special magic and immediacy of live performance that continues to draws theatergoers to the hushed houses on Broadway." I can certainly live with that definition of taste.
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Labels: Bob Martin, Broadway, Christine Ebersole, Des McAnuff, Forbes, Harry Connick Jr., John Doyle, Oprah Winfrey, Scott Sanders
Grey Gardens (The SOB Review) - Walter Kerr Theatre, New York, NY
**** (out of ****)
Grey Gardens can hardly be called a “feel good” show. So why did I find myself feeling
better than "good" after (finally) taking in a performance of this sublime show?
The incredibly talented Ebersole has proven she's at the height of her career. Her virtuoso performance in Grey Gardens is one that I'll never forget.
Mind you, I’m not one to voluntarily stand up and cheer reflexively. Personally, I find that the standing O is grossly overused and should be strictly reserved for only the best of the best. Not only did I leap to my feet upon Ebersole’s curtain call, but I found the extremely rare “bravo” freely coming from my heart and passing through my lips.
In
Grey Gardens, Ebersole more than masterfully channels both Edith and Little Edie Bouvier Beales of the funny-if-it-weren’t-so-tragic
seventies documentary of the same name. She luminously inhabits mother Edith in act one and then incredibly suspends any disbelief that you are watching anyone but the real Little Edie in the second act. Right before your eyes, a radiant and breathtaking Ebersole
becomes Little Edie.
It probably goes without saying, but to really appreciate the production’s excellence, as well as to be truly informed about the real-life train wreck, you must see the documentary.
The film, of course, documents the depths of eccentric squalor and neglect to which Edith and her daughter Little Edie -- relatives of the former First Lady Jacqueline Bouvier Kennedy Onassis -- succumbed. And they did so in the rarefied Hamptons, no less.
Thanks to a potent mix of intriguing fact and supposition by
Doug Wright, the musical telling of their story provides plausible answers to the question of how the once mighty could have fallen so far.
In the first act, Wright’s book transports us back to pre-World War II 1941. Little Edie (a pitch perfect
Erin Davie) is practically engaged to Joseph Kennedy (a winning
Matt Cavenaugh as the scion seemingly destined for the White House before dying a war hero). However, her flirtatious mother Edith (Ebersole) -- a frustrated, would-be singer forced by her recalcitrant, cheating husband to give up her dream -- schemes as saboteur. Whether it’s a selfish fear of being alone or an innate jealousy of her own daughter, Edith single-handedly destroys Little Edie’s last best hope at marrying well.
For her part, Little Edie always harbors an ill-fated hope to someday escape
Grey Gardens, yet the second act underscores the taut grasp of her mother. Now bedridden in 1973, the aging Edith (
Mary Louise Wilson) remains in an irrational tussle of envy with Little Edie. Yet in these twilight years, they ridiculously vie for the attentions of the young handyman Jerry (Cavenaugh), one of the few remaining people still invited into their once glorious home.
What makes this theatre of the absurd so intoxicating is not just the flawless execution of replicating key passages of the original film, but also the way Little Edie is continually haunted by the specter of the life she could have had. While the second act begins as a downright silly caricature of the mother and daughter straight from the documentary, it transforms into a modern, poignant tragedy, where pathetic dismissal gives way to empathy. Credit
Michael Greif's brilliant direction, Wilson’s powerful Edith and Ebersole’s heartwrenching Little Edie.
While I have absolutely no doubt that Ebersole and Wilson will be justly rewarded with Tony nominations -- and let’s be clear here…the Tony for Best Actress in a Musical
will go to Ebersole -- the
entire cast of
Grey Gardens is as solid as can be. Truly exceptional among them are
John McMartin in wonderful dual roles as both Major Bouvier and Norman Vincent Peale,
Bob Stillman as Goold -- the keyboard tinkling, booze-drinking hanger-on of Edith’s, and the terrific
Kelsey Fowler and
Sarah Hyland, who portrayed Lee Radziwill and Jackie O, respectively, as children.
Allen Moyer’s stunning and transformational set design not only luxuriates in the
Grey Gardens estate’s previous glory, but mixed with
Wendall K. Harrington's stunning projection design in act two, he succeeds in evoking its future filthy disrepair. Similarly,
William Ivey Long’s costume design expertly mines the evolution of the real Little Edie’s confounding fashion sense.
Finally, as if that weren’t enough, there’s the alternately gorgeous and disturbing score by
Michael Korie and
Scott Frankel that crescendos in each act with courageous show-stopping numbers sung with surprising lucidity -- if only for the moment -- by Ebersole’s Edith and Little Edie. In the end, it’s a triumph of the first order.
So do yourself a favor. Go rent the DVD of the original cult documentary (if you're still unfamiliar with the story of the Beales) and then make tracks to the
Walter Kerr Theatre to take in this highly unconventional, but completely satisfying musical. You'll thank me!
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Labels: Broadway, Christine Ebersole, Grey Gardens, Musical, The SOB Review
