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
American Buffalo (The SOB Review) – Downstairs Theatre, Steppenwolf, Chicago, Illinois
***1/2 (out of ****)
Admittedly, playwright
David Mamet’s works are an acquired taste. But having acquired that taste long ago, I found
Amy Morton’s retro-cool revival of his
American Buffalo a veritable feast.
Not every actor possesses the required panache to effectively deliver Mamet’s rat-a-tat-tat, back-and-forth give and take.
American Buffalo certainly has its share of the playwright’s coarse trademark language. It requires absolute, unmistakable precision in order to succeed. Make no mistake, this
Steppenwolf production succeeds in spades.
Fortunately in this tale of amateurs planning a heist of one very expensive nickel, Morton is directing a trio of genuine pros. Steppenwolf ensemble members
Francis Guinan as Don and
Tracy Letts as Teach are both in prime (and even primal) form, while relative newcomer
Patrick Andrews more than holds his own as the dim Bob.
From 2001-2007, you almost could not see a Steppenwolf production without witnessing Letts’ personal metamorphoses, losing himself completely in each dramatically different role. Despite a two and a half year absence from being on stage, Letts never misses a beat and brilliantly masters Mamet’s rat-a-tat-tat banter. He finds all the subtle shadings of this most shady character -- enough, that you can’t help but feel a twinge of regret for Teach during his pivotal moment of truth in the second act.
These days at Steppenwolf, it’s Guinan who’s in practically every Steppenwolf production. Like Letts, this exceptional ensemble player lends such an amazing air of authenticity, including here, that you can practically smell him from your seat. No wonder Guinan has been Steppenwolf’s go-to-guy in recent years. He’s just that great.
In his first Steppenwolf role -- which is unlikely to be is last -- young Andrews goes toe-to-toe with Letts and Guinan. He delivers his own nuanced performance that’s a revelation.
While
American Buffalo is strictly a three-hander, another star of the production is Kevin Depinet’s ingenious scenic design, perfectly capturing Don’s junk dealer shop. And you have to give props to the prop master, for without those perfectly placed props, watching Letts’ second act meltdown certainly would not have had the same visceral punch. Letts doesn’t so much as chew the scenery as much as he begins to physically destroy some of it.
Regrettably, I have no idea how well-acted the recent Broadway revival of Mamet’s play was just two short years ago, missing it due to its premature closing. But after devouring every last, tasty morsel of Steppenwolf’s
American Buffalo with relish, it’s hard to imagine any other version being more satisfying.
This one is worth every pretty penny.
This is Steve On Broadway (SOB).
In keeping with the new that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for this performance.Labels: American Buffalo, Amy Morton, David Mamet, Francis Guinan, Patrick Andrews, Play, Revival, Steppenwolf, Tracy Letts
My Five Cents On American BuffaloYesterday,
I took note of the regularity with which
David Mamet plays have been mounted on Broadway over the past five years. Add to that his upcoming
Race and you have a total of six shows, old and new, that will have been staged on the Main Stem during that time.
Easily the
least successful of the first five was the
2008 revival of
American Buffalo, which closed last November 24 after only eight regular performances. And it wasn't for lack of star power, either. With
Robert Falls at the helm, that "
deflated" incarnation featured
John Leguizamo,
Cedric the Entertainer and
Haley Joel Osment. Unfortunately for the production,
reviews ran from mixed to complete pans.
Without looking backwards, Chicago's
Steppenwolf is seeking to salvage this play's reputation by
returning it to the Windy City where it was
first produced 34 years ago by the venerable
Goodman Theatre.
Proving that she's really running things now is estimable actress, director and Steppenwolf Ensemble member
Amy Morton. While New York audiences may only know her for her dramatic chops, she's a force at the helm as well, as she demonstrated again just a year ago in directing Steppenwolf's acclaimed production of
Conor McPherson's
Dublin Carol.
Equally impressive is her cast, which includes
Tracy Letts and
Francis Guinan, along with an accomplished young actor named
Patrick Andrews.
This marks Tracy Letts' return to the boards after a two and a half year absence during which a little show called
August: Osage County rocked the theatre establishment and cemented his reputation as a powerful playwright. I would argue that to fully appreciate Letts, you must witness his astounding talent
on-stage as well as off. He's that good.
Then there's Fran Guinan, who is without a doubt,
one of the most gifted contemporary actors in Chicago or anywhere else. While Broadway audiences will fondly recall his Charlie Aiken as the only
August: Osage County character displaying any real heart, Chicago audiences have come to revere him for his breathtaking versatility in playing everyone from Colonel Sanders to Johnny Walker to Arthur Conan Doyle.
The enormous range and capabilities of the Morton/Letts/Guinan triumvirate are making this
American Buffalo the one show of the year I've been waiting for most. Something tells me that it will definitely be well worth the coin.
American Buffalo begins previews at Steppenwolf's Downstairs Theatre on December 3 and opens December 13. I'll be there for its opening and will have a full report shortly thereafter.
This is Steve On Broadway (SOB).
Labels: American Buffalo, Amy Morton, David Mamet, Francis Guinan, Steppenwolf, Tracy Letts
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
SOB's 8 Singular Sensations Of '08As regular readers of Steve On Broadway (SOB) know, while others use the end of the year to provide their lists of the top shows of the past year, I wait until the conclusion of the entire Theatrical Season to provide my official tally.
Instead, I'm once again devoting the end of the calendar year to celebrate SOB's Singular Sensations -- those magical live performances that have stayed with me throughout the year. While it's easy to bid "good riddance" to a year that has been fraught with economic, man-made and natural catastrophes, I took refuge in once again being truly wowed and ultimately inspired by an extraordinary display of excellent performances from some of the theatre world's best actors, singers and dancers of our time.
Before I launch into my mini-countdown, I'd like to offer a few personal observations on my own year. Without a doubt, one continuing highlight has been the enormously gratifying opportunity to meet a wide cross-section of fellow theatre bloggers.
Thanks to Esther at
Gratuitous Violins for getting the ball rolling as 11 bloggers with a predominant focus on theatre became friends and family as we joined together for a freewheeling brunch at
Angus McIndoe's -- one of the Broadway theatre district's more renowned hot spots. That list included Aaron at
‘kül That Sounds Cool, Alicia at
Things You'll Learn To Love About Me, Chris at
Everything I Know I Learned from Musicals, Jan at
Broadway & Me, Jimmy at
Third Row, Mezzanine, Kari at
Casual Heap, Mike at
The Lunar Gemini, Patrick at
Just Shows To Go You and Sarah at
Adventures in the Endless Pursuit of Entertainment.
But as the year progressed, it was a high honor meeting several other vital bloggers, including Andrew and Philip at
West End Whingers, Angel at
The Theatergoer, Eric at
Man In Chair, Gabriel at
Modern Fabulousity, Kevin at
Theatre Aficionado At Large, and, of course, the man responsible for my wonderful new photo, the incomparable Ste at
The Stephen Mosher Blog.
To all my blog friends, let me say I am proud to know you and count you among my friends.
Now, dear readers, I give you SOB's 8 Singular Sensations of 2008:
#8 - Francis Guinan - While most of the rest of the
August: Osage County ensemble headed off to London this fall to reprise their celebrated performances, one notable principal from Steppenwolf's Chicago and Broadway casts did not make the journey:
Fran Guinan.
The actor who singlehandedly delivered the tenderest performance and arguably the most heart in this year's Tony Award-winning Best Play as Charlie Aiken had a couple other projects and a whole host of characters to handle back in Chicago. Guinan enjoyed some delicious scene-stealing roles as Colonel Sanders and Johnny Walker in Steppenwolf's
Kafka On The Shore, but it was his extraordinarily touching take as Sharky in Steppenwolf's just-extended production of
The Seafarer that completely blew me away.
It's because he seems to effortlessly imbue each and every one of his wide-ranging characters with limitless shadings and nuance, I'm looking forward to seeing this sensational actor next in Steppenwolf's early 2009 mounting of
Art.
#7 - Martha Plimpton - Is there
nothing Martha Plimpton cannot do? First, as the wine-swilling pontifica-ting, pompous Pope Joan and then as an English teen,
both as part of
Caryl Churchill's
Top Girls, she was simply mindblowing.
But as Gladys Bumps in the current Broadway revival of
Pal Joey, Plimpton proves nothing short of a complete revelation. We already knew this Tony-nominated actress had the dramatic chops, but who knew she also possesses such an sensational singing voice? Her "Zip" alone is worth the price of admission. Along with her sly moves, it truly does appear that there's nothing Plimpton can't do.
Look for another Tony nod in the New Year for this sensational actress.
#6 - Lois Smith - Shame on me for missing
Horton Foote's
The Trip To Bountiful during its celebrated
Signature Theatre Company run a couple years back. Fortunately, for me (and countless others), Chicago's
Goodman Theatre chose to honor the works of the great nonagenarian with a
festival that enabled the incandescent
Lois Smith to reprise her lauded Off-Broadway turn as Carrie Watts.
Smith's astonishing luminescence burned brighter and brighter throughout her performance as she brilliantly captured Carrie's yearning to return home, one last time, to a place called Bountiful. Smith's impeccably drawn portrayal proved one transformative power.
The always sensational Lois Smith was nothing short of excellent.
#5 - Daniel Breaker - I have yet to see what he can do in
Shrek The Musical.
But
Daniel Breaker The Actor is one exception-ally gifted talent worth watching, thanks to his truly astonishing breakthrough role as Youth in my favorite new musical of the past year:
Passing Strange. Breaker has the ability to convey so much more with a simple roll of his eyes than many actors have with their entire portayals. He possesses a natural presence found far too infrequently on the stage.
His sensational Tony-nominated performance made
Passing Strange come alive, and it will be the reason I go see
Shrek.
#4 - Jim Norton - Actors from two different productions of the same outstanding play land on my list.
Back at #8 was Fran Guinan as Sharky from Steppenwolf's current run of
The Seafarer. The acting genius who originated the role of Sharky's brother Richard in London and reprised his performance again on Broadway lands at #4. The breathtaking
Jim Norton earned very well-deserved Olivier and Tony Awards for his incredible work. His superb portrayal more than convinced me he had literally drunk himself blind. I really thought, "this man truly is without sight." Of course, only at the curtain call did I realize he could see.
I'm so looking forward to seeing this sensational actor once again in
New York City Center's March mounting of
Finian's Rainbow.
#3 - Mark Rylance - For a British actor,
Mark Rylance sure has the Midwestern accents down pat (perhaps it's because, like me, he lived in
Mequon - Thiensville, Wisconsin, during part of his formative years).
Shortly before making his Broadway debut, this master Shakespearean actor returned to a Guthrie stage in Minneapolis in the title role of
Peer Gynt. This retelling of
Henrik Ibsen's play began with Rylance portraying a modern-day Minnesotan on the receiving end of a surprise party for his 50th birthday.
Soon thereafter, Rylance took Broadway by storm with his Tony-winning farcical turn as a Wisconsinite named Robert in the revival of
Boeing-Boeing. He's still keeping them laughing through Sunday at the
Longacre via his absolutely masterful turn.
Given his wide range, there's no telling where the sensational Rylance will land next.
#2 - Elena Roger - As the only artist from last year's SOB Singular Sensations lists to make a return, the marvelous
Elena Roger is a major force to be reckoned with. Her bravura performance as Eva Peron in the recent London revival of
Evita was more than enough to
land her at #4 one year ago. In the current West End production of
Piaf, this abundantly assured and captivating actress dazzles once again. Roger proves a true sensation.
Succeeding in eerily channeling
Edith Piaf, Roger soars to make for one of the year's most extraordinary and magical performances, almost in spite of the ill-conceived production around her.
I for one can't wait to see what this sensational talent does next and can only hope that Broadway is finally paying attention.
#1 - Patti LuPone - I know, I know.
Patti LuPone easily earned
the number one spot two years ago on my year-end list for her electrifying/terrifying performance as Mama Rose in
Ravinia's concert version of
Stephen Sondheim,
Jule Styne and
Arthur Laurents' best musical of all time,
Gypsy. How could I possibly give the same artist the same pole position for the same role yet again?
Easily. Laurents' current Broadway mounting of
Gypsy is no ordinary revival. Just when I thought LuPone couldn't get any better, she manages to eclipse her own jawdropping performance with a Rose who is at once sympathetic, conniving, sexy, funny, tragic and repulsive all at the same time. Brava, Patti! Brava!
I was so mesmerized by LuPone's sensational performance of a lifetime that I'll be there to cheer her on once more before
Gypsy closes on January 11.
Happy New Year!
This is Steve On Broadway (SOB).
Labels: Daniel Breaker, Elena Roger, Francis Guinan, Jim Norton, Lois Smith, Mark Rylance, Martha Plimpton, Patti LuPone, SOB's 8 Singular Sensations of 2008
The Seafarer (The SOB Review) - Downstairs Theatre, Steppenwolf, Chicago, Illinois
*** (out of ****)When I saw
Conor McPherson's chilling play
The Seafarer on Broadway earlier this year,
I deadpanned that it's so damned good, it's practically enough to put the fear of God in you. Now, that fear is being instilled via regional productions throughout the United States, including in Chicago by
Steppenwolf.
Even if
Randall Arney's direction can't match McPherson's own taut vision, or
John Mahoney's blind drunkard Richard Harkin doesn't come anywhere near the breathtaking performance offered by
Jim Norton (who earned a very well-deserved Tony for his incredible work), this is still one helluva good yarn.
Time appropriate, not only for the holidays, but also for these troubled economic times,
The Seafarer remains one of the best new tales of redemption produced this year, and it's delivered here with gusto by
Francis Guinan as Richard's brother Sharky,
Alan Wilder as Ivan,
Randall Newsome as Nicky, and
Tom Irwin as Mr. Lockhart. In fact, the brilliant Wilder somehow captures the same comedic verve as
Conleth Hill, even without the former having seen the latter's Tony-nominated performance.
If there is a performance that manages to exceed the one I saw on Broadway, it was Francis Guinan's extraordinarily touching take as Sharky. Guinan once again imbues yet another of his wide-ranging characters with limitless shadings and nuance, in this case of a man who's not only been humiliated, but who's seeking redemption for his troubled soul. Guinan's excellent portrayal lifts the entire production.
While Steppenwolf's mounting can't beat the hand dealt on Broadway, this solid production deserves a full house nonetheless.
This is Steve On Broadway (SOB).
Labels: Alan Wilder, Chicago, Conleth Hill, Conor McPherson, Francis Guinan, John Mahoney, Randall Newsome, Steppenwolf, The Seafarer, The SOB Review, Tom Irwin
August: Coming To A County Near YouIt's
official!
Tracy Letts'
August: Osage County is set to tour beginning just a little over one year from now.
The first stop for the tour will be at San Francisco's
Curran Theatre, beginning -- appropriately enough -- in August 2009 (August 11, to be precise). Other tour stops will be announced soon.
While the touring cast of
August: Osage County has yet to be announced, many key cast changes are set to occur on Broadway after Sunday afternoon's matinee performance, which dovetails with the 2008 Tony Awards. The show, of course, is the overwhelming favorite to win "Best Play," and as
I've stated previously, there are likely to be other key award winners from the production including, I hope, a couple key folks set to depart.
Chief among them are the amazing
Deanna Dunagan and
Rondi Reed, who portray sisters Violet Weston and Mattie Fae Aiken, respectively. Don't be surprised to see either of these outstanding actresses taking Tonys home with them to Chicago come Sunday -- just don't expect to see them in the show come Tuesday. June 17 marks the first performance in which Dunagan will be succeeded by Academy Award winner
Estelle Parsons, while Reed will be replaced by Steppenwolf ensemble member
Molly Regan, who most recently was appearing in the Chicago troupe's production of
Dead Man's Cell Phone.
Regan last appeared in the 1992 Broadway revival of
The Crucible. If you're not familiar with Regan, I can tell you that she was "
wonderfully sardonic" in
Dead Man's Cell Phone, and
I adored her in Steppenwolf's 2006 production of
Love Song in which she played
Francis Guinan's loveable, lovely wife and
Ian Barford's sister.
Speaking of Guinan and Barford -- and coming full circle -- they'll
also be exiting
August: Osage County come Sunday. Guinan's superb performance as Mattie Fae's husband Charlie will be followed by
Robert Foxworth (best known for television's sudsy "
Falcon Crest"), while Barford's Little Charles will be portrayed come Tuesday by Steppenwolf ensemble member
Jim True-Frost (best known for
HBO's "
The Wire").
I last caught Foxworth around 2003 in the touring production of
Proof as he offered an intelligent take on a genius father who went mad. As for True-Frost,
I saw him, interestingly enough, under
Amy Morton's taut direction in the 2006 Steppenwolf production of
The Pillowman (which also starred none other than Tracy Letts); at the time, I saluted True-Frost's "right mix of indignation and fear" in his portrayal of Katurian Katurian Katurian.
As if all those departures aren't enough, a fifth original cast member from the original Chicago incarnation is set to bid farewell. Steppenwolf co-founder
Jeff Perry's Bill Fordham will now be played by Tony-winning actor
Frank Wood (
Side Man).
Of course, with the onslaught of Tonys that
August: Osage County is expected to enjoy, it's likely that the production just might last on Broadway well beyond August. Not bad for a little ensemble piece that was initially set for a limited run.
This is Steve On Broadway (SOB).
Click here for tickets.Related Stories:SOB's 2008 Tony Picks - Who Will Win (June 10, 2008)
SOB's 2008 Tony Picks - Part III (June 6, 2008)
SOB's 2008 Tony Picks - Part II (June 5, 2008)
SOB's 2008 Tony Picks - Part I (June 4, 2008)
SOB's Best Of 2007-08: Best New Plays (May 30, 2008)
More August Honors (May 19, 2008)
Whoopi! Tony Eligibility And More Handicapping (May 9, 2008)
An August Award (April 7, 2008)
Today's The Day ... Or Maybe Not (April 7, 2008)
Producer's Perspective Is Sneak Peek (March 24, 2008)
Fantasy Casting Calls (February 26, 2008)
Dennis Letts - RIP (February 24, 2008)
August: Osage County (The SOB Revisit) (February 20, 2008)
August: Osage County Will Extend Again, Moving To Music Box (February 15, 2008)
Is It Just Me, Or... (Part III) (January 22, 2008)
Hot, Hot, Hot August Just Got Longer (January 14, 2008)
SOB's 7 Singular Sensations Of '07 - #1: Deanna Dunagan (December 31, 2007)
SOB's 7 Singular Sensations Of '07 - #3: Amy Morton (December 29, 2007)
ModFab: The Jury Is In (December 28, 2007)
August: Best Time Of The Year (December 15, 2007)
Sorkin "No Tracy Letts" (December 14, 2007)
More Than One Critic Letts August Esteem Show (December 5, 2007)
August Heat Fires Up December Opening (December 4, 2007)
Cold Opening Possible For August: Osage County? (November 16, 2007)
Finally, Back To The Table (November 14, 2007)
Add August To The List? (November 14, 2007)
An August Work (October 30, 2007)
Steppenwolf Letts "Juicy" August Move Forward (September 15, 2007)
This October, Letts' "August" Begins On Broadway (August 22, 2007)
August: Osage County (The SOB Review) (August 19, 2007)
Labels: August Osage County, Broadway, Chicago, Deanna Dunagan, Francis Guinan, Ian Barford, Jeff Perry, Play, Replacements, Rondi Reed, Steppenwolf, Touring Production
August: Osage County (The SOB Revisit) - Imperial Theatre, New York, NY**** (out of ****)Last week, I finally returned to
Tracy Letts'
August: Osage County after
having been blown away last August by his absolutely brilliant, riotous script and the stellar performances by its Chicago-based
Steppenwolf cast.
While some of the casting has changed for its Broadway run, the show runs even deeper, more visceral the second time around. It hasn't lost any of its dramatic punch -- if anything, it hits 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. And it's even funnier, too.
Although
my original SOB Review summarizes the way I still feel about
August: Osage County, there is always a joy in seeing a truly exceptional work for a second time because you're able to appreciate all the underlying nuances that may have slipped by the first time.
While Letts never shies away from an in-your-face verve, he also infuses plenty of subtle charm, particularly in capably bringing his softer moments full circle. One prime example lies within the shades of patriarch Beverley Weston seen in daughter Barbara's eleven o'clock Jim Beam swilling soliloquy. Sure, both Beverley and Barbara were rambling on in front of the hired help, but both were on a search for their very souls.
Another fine example derived from Beverley's one and only appearance comes from his haunting exhortation of
T.S. Eliot, only to see the great poet's work offered up by that same hired help to comfort one key character.
In addition to luxuriating in the play's artful undertow, I also found myself more deeply immersed in each of the fully realized characterizations.
Yes, there is still no denying that
Deanna Dunagan (Violet) single-handedly delivers a bravura performance for the ages as the matriarch of the Weston clan.
Amy Morton still gives as good as she gets -- and even better -- as Violet's daughter Barbara. And
Rondi Reed's Mattie Fae is still likely to remind you of your favorite, if she wasn't so crazy, aunt. These three actresses are all at the top of their game and will surely be remembered come Tony time.
Yet it was the performance of
Francis Guinan as Mattie Fae's long-suffering husband Charlie that really popped for me the second time around. While no character in this show is without their own dynfunctional imperfections, Guinan offers a sweet dignity to the proceedings, especially when considered against one of the play's many revelations exposing the startling truth about his own son.
Additionally,
Mariann Mayberry -- who, like Guinan, is a Steppenwolf ensemble member I've admired in countless roles in Chicago -- offers such a wonderfully delusional turn as Violet's daughter Karen, pretending to have discovered the secret to happiness (equated to New Year's wedding bells and Belize), even though her world is crumbling around her for everyone else to see.
Since first seeing the show last summer in Chicago, I've known I witnessed something very, very special in the world of live theatre. When I wrote
my review last August, I said:
By far the best-written, best-acted play I've ever seen at Chicago's Steppenwolf -- and that's no small feat -- August: Osage County is ensemble member Tracy Letts' masterpiece.
It's mesmerizing.
To say it's the most excellent stage production I've seen this year would be a gross understatement.
Six months later, after much reflection, I can attest that this is
the best new stage play I've seen over the last five years. Now that the show is enjoying an
open-ended Broadway run, do yourself a favor and see it in all its glory.
This is Steve On Broadway (SOB).
Click here for tickets.Related Stories:August: Osage County Will Extend Again, Moving To Music Box (February 15, 2008)
Is It Just Me, Or... (Part III) (January 22, 2008)
Hot, Hot, Hot August Just Got Longer (January 14, 2008)
SOB's 7 Singular Sensations Of '07 - #1: Deanna Dunagan (December 31, 2007)
SOB's 7 Singular Sensations Of '07 - #3: Amy Morton (December 29, 2007)
ModFab: The Jury Is In (December 28, 2007)
August: Best Time Of The Year (December 15, 2007)
Sorkin "No Tracy Letts" (December 14, 2007)
More Than One Critic Letts August Esteem Show (December 5, 2007)
August Heat Fires Up December Opening (December 4, 2007)
Cold Opening Possible For August: Osage County? (November 16, 2007)
Finally, Back To The Table (November 14, 2007)
Add August To The List? (November 14, 2007)
An August Work (October 30, 2007)
Steppenwolf Letts "Juicy" August Move Forward (September 15, 2007)
This October, Letts' "August" Begins On Broadway (August 22, 2007)
August: Osage County (The SOB Review) (August 19, 2007)
Labels: Amy Morton, Anna D Shapiro, August Osage County, Broadway, Deanna Dunagan, Francis Guinan, Mariann Mayberry, Play, Rondi Reed, The SOB Revisit, Tracy Letts
