God Of Carnage (The SOB Revisit) - Bernard B. Jacobs Theatre, New York, New York
***1/2 (out of ****)Late yesterday,
it was announced that the closing for
Yazmina Reza's
God Of Carnage -- last year's Tony Award-winning Best Play -- would be advanced to June 6.
What a pity, especially now that the show is finally in about the best shape I've ever seen it, and that includes performances on both sides of the Atlantic.
With original London cast member
Janet McTeer taking on the role of Vernonica, plus
Jeff Daniels now portraying Michael -- which honestly is much better suited to his talent -- the riotous play is even funnier and more fierce than ever. Topping it off in losing her lunch is
Lucy Liu alongside
Dylan Baker as her smarmy attorney spouse.
My only quibble with the Broadway production is a seemingly tiny change en route from the West End to the Great White Way. I never had any real issue with the comedy's setting being altered from Paris to New York, which was the biggest change between the two productions, along with the characters' names being tweaked accordingly.
But when I first saw
God Of Carnage in London two years ago, there was a line there that struck me to the point I even wrote about it in my initial
SOB Review there. Janet McTeer's character essentially shouted at one key point, "We're all fundamentally uncouth." The line and its delivery gripped me. It brilliantly exposed the incivility of this and every other conflict in our modern world.
When
I first saw the show on Broadway last year, I was waiting for, yet never heard, that remarkably transformative line. Neither did I hear it when I returned to see it with its current cast. I was left puzzled. Had I actually remembered the London incarnation incorrectly?
Since McTeer would certainly know, I decided to visit the stage door and pose the question to her directly to see if my recollection was just plain wrong. She told me that the line was replaced with "we're all f***ing neanderthals" for American audiences. Was I ever dismayed, particularly since the line had worked so well in London. Guess it just shows to go you what the
director, the playwright and the
translator must
really think of their American audiences -- we're apparently so uncouth that we can't even understand the meaning of the word.
Oh well. Irrespective of that nit, my third time with the show was the charm. And Janet McTeer? Well, she's just plain charming.
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: Broadway, Dylan Baker, God Of Carnage, Janet McTeer, Jeff Daniels, Lucy Liu, Matthew Warchus, Play, The SOB Revisit, Yasmina Reza
Time Hardly Stands Still For Alicia SilverstoneAlicia Silverstone, the Golden Globe and Emmy-nominated actress known primarily for her film work ("
Clueless"), recently concluded her much-praised sophomore effort on Broadway as part of the acclaimed production of
Time Stands Still. It was such a marked departure from her 2002 performance in
The Graduate -- which, for the record, I actually enjoyed -- that there's even talk in some circles about Ms. Silverstone's chances for a Tony nomination, although we never broached that possibility with her.
Last Friday, I joined with fellow theatre bloggers Patrick Lee (
Just Shows To Go You) and Kevin Daly (
Theatre Aficionado At Large) by way of the
Independent Theater Bloggers Association (ITBA) in a half hour telephone conversation with Ms. Silverstone. I asked her, "What did you take away from your Broadway debut that has informed your stage work since?"
Alicia Silverstone replied:
I had only done one play before that (Carol's Eve, 1993).
(In The Graduate) I learned a lot from Kathleen Turner, who is awesome. She came to see me in Time Stands Still and was so proud of me.
She took me under her wing and treated me with so much respect from the moment we started working on The Graduate. I remember when we were in Baltimore, before we came to Broadway, and after the first night she said to me, “That was really good, darling, but tomorrow maybe you will have your voice down about four notches.” I was screaming. I guess I was so excited and nervous that my voice got very high.
After originating the role of
Time Stands Still's Mandy Bloom last year at Los Angeles'
Geffen Playhouse, Ms. Silverstone was the only prinicipal to stay with the play through Broadway. Nevertheless, she said of the latter experience, "I came humbly to the rehearsal room. It was so electrifying that I didn't want to leave (even) to go to the bathroom.
Laura Linney became like a big sister to me."
Telling us, "Theatre people are the best," it's no wonder this actress with an infectiously sunny disposition is already contemplating her next stage outing. Although currently filming "
Butter" with
Hugh Jackman,
Rob Corddry and
Jennifer Garner, Ms. Silverstone somewhat wistfully told us her dream would be to do a production of
Romeo And Juliet. But she said that after seeing
Janet McTeer perform in
A Doll's House, she'd really love a chance to tackle the role of Norma Helmer.
Just don't expect her to do a musical any time soon; she says, "I'm not a trained singer. I'm interested in it but I've never practiced singing."
To read another take on our interview, please visit
Just Shows To Go You.
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 Doll's House, Alicia Silverstone, Broadway, Hugh Jackman, Interview, Janet McTeer, Kathleen Turner, Laura Linney, Play, The Graduate, Time Stands Still
God Of Carnage (The SOB Revisit) - Bernard B. Jacobs Theatre, New York, New York
*** (out of ****)Consider this my visceral tribute to
Yasmina Reza's exceptionally brilliant writing that I must now look back on my
SOB Review of the 2008 London mounting of her
God Of Carnage and revise my overall rating to three and a half stars. Credit the absolute, blissful perfection in the performances from its four stars,
Ralph Fiennes,
Tamsin Greig,
Janet McTeer and
Ken Stott.
By finally taking in the Broadway mounting of
God Of Carnage with a New York-centric translation from
Christopher Hampton, I suffered from the inevitable affliction of comparisons. Yes, the Broadway cast --
Jeff Daniels,
Hope Davis,
James Gandolfini and
Marcia Gay Harden -- is certainly top drawer, but with the sole exception of the magnificent Davis, none of these actors come close to the far superior West End performances that singed themselves into my memory well over a year ago.
Harden may have won the Tony for Best Actress, but she's no McTeer, whose earlier, breathtaking portrayal of Véronique (now Veronica) seemed so much more genuine -- particularly from the start. Daniels is fine, but nothing could be finer than Fiennes' slow steely burn as Alain (now Alan). Gandolfini never quite finds the nuances of Michel (now Michael) quite the way Stott did.
Hope Davis, on the other hand, manages to upstage everyone else, and it's not merely because she literally erupts. It's because she plumbs the depths of Annette's pathos with such natural ease, and yes, grace, that she delivers one of the year's most exciting performances period. Ironically, for the one sole character whose name has not changed in translation, Davis provides a vibrant and exciting new take.
And coming full circle, aside from Davis, the real star of
God Of Carnage is Reza's razorsharp wit and ingeniously constructed story, making this a recommended show nonetheless.
This is Steve On Broadway (SOB).
Labels: Broadway, Christopher Hampton, God Of Carnage, Hope Davis, James Gandolfini, Janet McTeer, Jeff Daniels, Ken Stott, Marcia Gay Harden, Play, Ralph Fiennes, Tamsin Greig, Yasmina Reza
Mary Stuart (The SOB Review) – Broadhurst Theatre, New York, New York
*** (out of ****)
It was the best of times (and sigh!) it was the dullest of times.
Fortunately, once you sit through the extraordinarily dry exposition of the first act of
Phyllida Lloyd’s ultimately worthy revival of
Friedrich Schiller's
Mary Stuart (with new adaptation by
Peter Oswald), you’re in for one of the year’s most powerfully explosive acts, period.
Thanks to the unusually fierce, bravura performances from
Janet McTeer and
Harriet Walter starring as cousins
Queen Mary of Scots and
Queen Elizabeth I, respectively,
Mary Stuart comes close to becoming a theatrical
tour de force of epic proportions.
Certainly from the start, McTeer and Walter are more than enough to whet anyone’s appetite. But it’s not until the gales from the onset of Act Two that their portrayals of the original dueling divas truly reigns down on the stage with an intensity so pure and genuine that you forget for a moment you’re watching something set back in time over 400 years.
For the second year in a row, I’ve witnessed a level of virtuosity from McTeer I never before could have imagined (in 2008,
I saw her extraordinary turn in the earlier London mounting of the Tony-winning hit
God Of Carnage). While Walter nearly goes toe to toe, McTeer offers that rarest of theatrical delights: a performance for the ages.
So if you’re like me and easily tire of
Mary Stuart’s labored first act (despite McTeer and Walter’s exceptional efforts), rest assured that after intermission, you’re bound to get just a little, well, moist.
This is Steve On Broadway (SOB).
Labels: Broadway, Friedrich Schiller, God Of Carnage, Harriet Walter, Janet McTeer, Mary Stuart, Peter Oswald, Phyllida Lloyd, Play, Revival, The SOB Review
What Hath God Wrought?Yesterday, the Broadway incarnation of
God Of Carnage opened to a slew of
pretty decent reviews, including the
one that seems to matter most.
Helmed by
Matthew Warchus , the Great White Way staging of
Yasmina Reza's latest work (with translation from
Christopher Hampton) stars
Jeff Daniels,
Hope Davis,
James Gandolfini and
Marcia Gay Harden.
After having thoroughly enjoyed last year's brilliant London production with
Ralph Fiennes and absolutely mesmerizing
Janet McTeer -- click here for that
SOB Review -- I find this morning's favorable critiques to be very tempting for a revisit to this visceral comedy. Oh, and if you'd like to see McTeer, your opportunity comes later this month as the London-cum-Broadway revival of
Mary Stuart begins previews.
This is Steve On Broadway (SOB).
Labels: Broadway, Christopher Hampton, Critics' Capsule, God Of Carnage, Hope Davis, James Gandolfini, Janet McTeer, Jeff Daniels, Marcia Gay Harden, Mary Stuart, Play, Yasmina Reza
Broadway Preview: Mary StuartAfter getting wind yesterday that acclaimed British actress
Janet McTeer would be returning to Broadway for her first time since earning a Tony Award for Best Actress in 1997 for her turn as Norma Helmer in
A Doll's House, I couldn't help but think, "How wonderful that she'll be reprising the her
absolutely brilliant portrayal of Véronique Vallon stateside in
God Of Carnage."
Yes, McTeer
is coming to the Great White Way in Spring 2009, and she
will be reprising a West End role. But it won't be in
God Of Carnage. Yet.
According to
Variety, McTeer's Rialto return will be as
Mary Queen of Scots. She'll be starring in a transfer of
Donmar Warehouse's 2005-06 hit revival of German playwright
Friedrich Schiller's
Mary Stuart.
Harriet Walter, whose only Main Stem credit came 25 years ago in a revival of
All's Well that Ends Well, will reprise her West End portrayal of
Queen Elizabeth I.
Peter Oswald's adaptation of
Mary Stuart will be directed by
Phyllida Lloyd of
Mamma Mia! fame.
Now perhaps it's because Americans aren't as engaged in British history as, oh, say the
rest of the world, but
Mary Stuart has only seen two previous Rialto incarnations.
The first came in 1900 at the
Fifth Avenue Theatre when it played in repertory with
Macbeth,
Marie Antoinette,
Much Ado About Nothing,
The Ladies' Battle and
Twelfth Night.
The next revival of the work wouldn't come for another 71 years, when
Mary Stuart was produced at
Lincoln Center's
Vivian Beaumont Theatre in late 1971. Clocking in at a mere 44 performances, the
Jules Irving-helmed play pitted
Salome Jens' Mary versus
Nancy Marchand's Elizabeth, and featured
Philip Bosco as Robert Dudley.
While you might think that they'd stage this new adaptation of Schiller's
Mary Stuart at one of Broadway's not-for-profit venues, it will instead be housed in one of the commercial theatres owned by the
Shubert Organization.
Whether New York audiences will enjoy rediscovering
Mary Stuart is a big question mark. Yet given the renewed thirst for royal entertainment, thanks in part to
Cate Blanchett's breathtaking turns as the first Queen Elizabeth, as well as
Showtimes' "
The Tudors," the time might very well be as right as can be. And the opportunity to see McTeer should be worth the ticket itself.
This is Steve On Broadway (SOB).
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God Of Carnage (The SOB Review) (May 2, 2008)
Labels: Donmar Warehouse, First Word On New Show, God Of Carnage, Harriet Walter, Janet McTeer, London, Mary Stuart, Phyllida Lloyd, Play, Revival, Transfer
God Of Carnage (The SOB Review) - Gielgud Theatre, London, United Kingdom
***1/2 (out of ****)It doesn't take very long during
Yasmina Reza's latest effort
God Of Carnage -- as adapted by frequent Reza translator
Christopher Hampton -- to get to its very exacting, visceral guts.
By the time seemingly mild-mannered French housewife Véronique Vallon (an absolutely brilliant
Janet McTeer) declares, "We're all fundamentally uncouth," all hell has already broken loose. And what a riot it is.
Alain and Annette Reille (
Ralph Fiennes and
Tamsin Greig, respectively) have been summoned to the home of Véronique and her husband Michel (
Ken Stott) after their son has bullied the Vallon's boy. Civility goes out the window almost as quickly as Annette's lunch -- along with every defensive insult -- is hurled in every direction. Alliances quickly realign depending upon the argument
du moment.With
Matthew Warchus' razorsharp, precise direction and finely calibrated and downright funny performances from his superb cast of four, it doesn't really matter that Reza is telling all of us that like the characters in
God Of Carnage, we're all basically rude, too. Set against
Mark Thompson's appropriately stylish blood-red set, it's the delivery of this massacre that makes it an engrossing kill worth watching.
As Alain, Fiennes offers a steely slow burn as the ethically-challenged businessman who can't be bothered with the niceties or apologies he's been asked to submit. Turns out, the apple doesn't fall far from the tree, but in this case, the junior Reille has branched out and uses sticks as his weapon. Try as she might, not even Annette can mask Alain's insouciance. Although in one of the most rip-roaring, ribald reflexes I've ever seen give way on a stage to date, Greig shocks as her Annette erupts quite literally.
Even as the aggrieved, put-upon Vallons, McTeer and Stott excel at slithering down to the most ignoble base of their beings. But it's McTeer's Véronique who steals the show with a meltdown from the responsible citizen of the world she fancies herself as being into the real human being she truly is.
Yet unlike
Harold Pinter's
The Homecoming, which presents a mostly vile family virtually lacking in any preposessing virtues, Reza's buoyant new work credibly serves up an assortment of readily recognizable, fully-rounded married couples who march to the beat of a drum we've likely thumped ourselves. And it's all done with a decent dose of humor that makes this 100 minute performance riveting entertainment.
Post Script: It looks as though that drum will be beating closer to home as it's been
announced today that Reza's play will see a New York mounting sometime next year.
This is Steve On Broadway (SOB).
Click here for tickets.Related Stories:London Calling, Celebrity Sightings (April 22, 2008)
The Homecoming (The SOB Review) (January 17, 2008)
Labels: Christopher Hampton, God Of Carnage, Janet McTeer, Ken Stott, London, Mark Thompson, Matthew Warchus, Play, Ralph Fiennes, Tamsin Greig, The SOB Review, Transfer, Yasmina Reza
London Calling, Celebrity SightingsYesterday, I left a
quick post regarding a literal run-in with musical theatre star
John Barrowman, who was nice as can possibly be.
Last evening, whilst going to see
God Of Carnage with
Ralph Fiennes and
Janet McTeer at London's lovely Gielgud Theatre, RF's brother
Joseph (pictured) was seated just a few row behind us in the front stalls, while
Elizabeth McGovern was also in the audience.
More to come on
God Of Carnage with a complete SOB Review in the days ahead. For now, let's just say, we're all fundamentally uncouth.
Tonight, it's
Maria Friedman and tomorrow,
Gone With The Wind.
This is Steve On Broadway (SOB) in London.
Labels: Celebrity Sighting, Elizabeth McGovern, God Of Carnage, Gone With The Wind, Janet McTeer, John Barrowman, Joseph Fiennes, London, Play, Ralph Fiennes
