Why don't more theatrical productions on both sides of the pond follow the lead of the Matthew Warchus-helmed upcoming London revival of Ira Levin's Deathtrap?
This first London revival of Deathtrap begins performances at the Noël Coward Theatre on August 21, with its first night (opening night) slated for September 7. With so much talent assembled for this production, along with tickets on sale through January 22, 2011, I'm mighty tempted to make the journey back to U.K. later this fall just to see this show.
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As Public Hair Recedes From Central Park, It Will Grow Anew On Broadway
If you're like me and simply won't have the opportunity to take in the Public Theater's free Shakespeare in the Park production of Hair, you'll be happy to know that you'll have a second chance to see it in 2009. But this time, it will cost you.
Just three days before its final September 14 performance at Central Park's Delacorte Theatre, it's been announced that the revival of the "American Tribal Love-Rock Musical" will shift to Broadway early next year. No word yet on casting, but I'm sure it's hoped that Jonathan Groff will once again reprise the role of Berger. CORRECTION: Groff (briefly) had the role of Claude. Thanks to readers for pointing that out.
Originally produced Off-Broadway, the show by Gerome Ragni, James Rado and Galt MacDermot rocked the Great White Way quite literally when it was transferred to Rialto's Biltmore Theatre in April 1968. With a cast that featured Diane Keaton, Melba Moore and the late Paul Jabara, the original production only received two 1969 Tony Award nominations, including Best Musical (it would lose to 1776). But the production would enjoy 1,750 performances until it shuttered on July 1, 1972.
The only Broadway revival opened a mere five years later at the same theatre, but only lasted 43 performances.
I've only seen one production of Hair, and it seemed stuck in a time warp. While the show was downright shocking to 1968 mores, I confess that by the time I saw it, there was no urgency left to any of its messages (of course, I venture that I may have seen it differently against today's backdrop of the Iraq War).
Nevertheless, I look forward to seeing why this particular incarnation enjoyed extension after extension. Let the sunshine in, indeed.
This is Steve On Broadway (SOB).
Click here for Public Theatre's ticket information for remaining Central Park performances.
Just as in Piazza, this incredibly talented actress will once again be working under the direction of Bartlett Sher, who just earned his well-deserved first Tony for his loving direction of the current revival for South Pacific.
Sher, of course, also serves as artistic director for Seattle's Intiman Theatre, and it was there that I first took in the world premiere production of Prayer For My Enemy, which he helmed. Regular readers may recall that at the time, I said:
Unfortunately, the production under Bartlett Sher's direction feels incomplete and as unfocused as each character's out-of-body psycho-babbling thought processing.
That's not to say that parts of the overly ambitious dual story lines aren't intriguing.
In fact, there's a lot of "there" there.
The Playwrights Horizons casting of Jonathan Groff as Billy, a U.S. soldier in Iraq, has also piqued my renewed interest in the work, and it will certainly mark a major departure from his Tony-nominated turn as Melchior in Spring Awakening. In fact, Spring Awakening fans might find more parallels between Billy and Moritz, with a dash of Ernst thrown in for good measure.
Playwrights Horizons describes the play as follows:
It’s a hell of a night for the Noones -- father Austin’s watching his nature shows and trying to keep from falling off the wagon, mother Karen’s keeping an eye on Austin, son Billy’s just back from Iraq, and pregnant daughter Marianne’s upset about the state of her marriage to Tad, Billy’s childhood friend who may still harbor a crush on him. With the Red Sox battling the Yankees for the 2004 AL title, an American family’s long-held secrets are dragged to the fore in what may be its final reckoning. Prayer For My Enemy is a pæan to our age, a keenly-layered drama about the preciousness of life and the grace to share common ground -- even with those we love the least.
Judging from the description, it appears that the play may have certainly evolved, perhaps even significantly, since first being presented in Seattle (after its world premiere there, it was presented last fall at Connecticut's Long Wharf Theatre). As my last line from my SOB Review last summer would attest, I'm certainly hoping that it has become more focused in time for its New York City premiere:
Prayer For My Enemy certainly aspires to be thoughtful and thought-provoking, yet in its current state, it's strangely deficient. Whether it will be shored up before heading to Long Wharf Theatre next month remains to be seen. Since I greatly admire Craig Lucas, I'll say a little prayer.
Rain: A Tribute To The Beatles Limited run extended through May 31, 2011 (Show will go on hiatus starting January 15 and reopen at Brooks Atkinson Theatre on February 8)
Rock Of Ages - Open-ended run (Show will go on hiatus starting January 9 and reopen at Helen Hayes Theatre in March)
As someone who has been involved in both politics and public relations, it's no wonder I love watching theatre. Good or bad, it's the raw energy of seeing a live performance that gets my adrenaline pumping. From the moment I saw my very first Broadway show ("Annie" in London in 1979), I was hooked. Now I see as many as 70 shows each year ranging from soaring musicals to two-hander plays. And these eyes just may be in an audience near you!
