Daly received accolades when she performed in this new Stephen Wadsworth-helmed revival first staged at Washington's Kennedy Center earlier this year. Since only a casting notice has been issued for Broadway, there is no further word at this time as to which, if any, of Daly's DC co-stars may make the transfer.
While Playbill has stated that the production will arrive on Broadway in late May -- too late for 2011 Tony nomination consideration -- it has only surmised that the play will be housed at Manhattan Theatre Club's (MTC) Samuel J. Friedman Theatre. There has been no confirmation by MTC.
The Kennedy Center described their 2010 production as follows:
Tony winner for Best Play, Master Class stars Emmy and Tony Award–winning actress Tyne Daly as Maria Callas. The play is a portrait of the opera diva told through her recollections of the glories, triumphs, and tragedies of her own life and career. Her voice is gone, her lover is long departed, and her sanity could possibly be next. All she has is a lonely itinerary of master classes and luggage packed full of the memories that are her only travel companion. Her students are the hapless targets of her sharp tongue, while she remains the picture of innocent aristocracy. Master Class shows that while the actress may have left the stage, she will never give up her audience.
As part of its promotion of the revival, the Kennedy Center offered the following video presentation with McNally:
Under Leonard Foglia's direction, Master Class first played Broadway in a lengthy 598 performance run, opening at the John Golden Theatre November 5, 1995, and closing June 29, 1997. Zoe Caldwell earned Tony and Drama Desk Awards for her turn as the opera diva. Audra McDonald won a Tony for her portrayal as Sharon, while Karen Kay Cody earned a Theatre World Award as Sophie -- her only Broadway credit. Other cast members included David Loud, Jay Hunter Morris and Michael Friel.
The $64,000 question is whether a revival presented as part of a subscription series (meaning it would have a limited run) and that opens after this season's Tony nomination cutoff will even be remembered a year later for the 2012 Tonys. If Daly provides a Master Class in acting, it just might have a shot.
In keeping with the 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 directly in exchange for this post.
As I've previously noted, it's a downright disgrace that critics converged on the Kennedy Center's Eisenhower Theater only days after Christine Baranski began her run -- had they waited, they would have seen an immensely confident and proud portrayal of Mame Dennis. Indeed, even the Washington Post's Peter Marks appears to be somewhat remorseful for his earlier review after taking in another performance one month later.
Noting how Mame "can leave in a hail of bubbles," Marks now praises Baranski, saying she "...seems untethered from doubt. Her Mame is more girlish and motherly than a month ago, when the actress appeared preoccupied with getting her high kicks right and negotiating the steps of an unwieldy staircase that is rolled on and off the stage all evening....To deliver one of Herman's best punch lines, Baranski now takes a pause in 'Bosom Buddies' so pregnant it's as if she's gone on strike in mid-joke. When the verbal hammer finally falls, the italicizing of the putdown gives it a scintillating zing."
The biggest disappointment, quite frankly, is that this marks the end for this unmitigated crowd pleaser, particularly now that it's hit its magnificent stride. It all seems incredibly unfair that the show dedicated to living must now come to a close. Is it too much to hope that Broadway producers might rethink the potential of a New York run?
Baranski's Mame Won't Open a New Window on Broadway
For the last several weeks, much of the entertainment buzz in the busy DC-New York corridor centered on whether the Eric Schaeffer-helmed Kennedy Center revival of Mame starring Christine Baranski would transfer to Broadway's Palace Theatre. The official word appears to be that it won't, according to a Playbill.com story published earlier this morning.
The production's costs apparently are much too prohibitive to justify a brief 20-week engagement. The Kennedy Center itself spent more than $5 million to produce the show, and it's visibly apparent to anyone who has had a chance to see the eye candy-filled tuner this summer in Washington. This has to be particularly disappointing for Baranski, who has enthusiastically talked at length about how she'd enjoy the opportunity to take this to New York.
But lest her New York fans lament not having a chance to see her anytime soon on the stage, Baranski is in talks with the Manhattan Theatre Club to perform in a Paul Rudnick play. Keep your fingers crossed for that one coming to fruition.
For anyone who has tickets for the current sold-out engagement of Mame in our nation's capital, count yourself as truly fortunate to be among a select group of theatregoers able to see this outstanding musical before it becomes history on July 2.
Love-Lies-Bleeding Meets Washington Post Critic at Kennedy Center
Noted author Don DeLillo's Love-Lies-Bleeding -- an examination of euthanasia -- has met the critics after opening Sunday evening at the Kennedy Center's Terrace Theater. Yet, the only review I could find was that by Washington Post critic Peter Marks (a second Post story by Amy Argetsinger and Roxanne Roberts notes how veteran stage actor Sam Waterston was in the audience Sunday). Taking issue with the literary delivery of the play's dialogue, Marks states "That (the) contemplative springboard gives way to a thoughtful if rather clinical evening in the Kennedy Center Terrace Theater." While calling the play's present-day scenes "laborious," and deeming Louis Cancelmi's portrayal of Sean, son of stricken artist Alex (John Heard), "oddly robotic," Marks praises the portion of the production that provides the compelling back story on the relationship between Alex and his second wife Toinette (Martha Lavey), as well as Heard's performance and the excellent lighting design by J.R. Lederle.
As previously noted, I've now seen this play both at its original Chicago Steppenwolf Theatre home and then again on Sunday at the Kennedy Center. The only discernable difference I found was Heard's portrayal of Alex after he had suffered a stroke. In Chicago, Heard's Alex had the slurred speech of a paralyzed stroke victim, while at the Kennedy Center, he spoke plainly. I was later told by someone associated with Steppenwolf that Heard's portrayal changes with every performance.
Time is ticking before time runs out on this play's DC run. Performances run through June 25 only.
Love-Lies-Bleeding Blooms at Kennedy Center Tonight
Tonight marks the opening for Chicago-based Steppenwolf Theatre's Love-Lies-Bleeding at the John F. Kennedy Center for the Performing Arts' Terrace Theater. On the surface, the play -- produced with the assistance of the Kennedy Center Fund for New American Plays -- is an examination of euthanasia, but at its heart is the question of when life begins and ends.
I've had the opportunity to take in the production, both in Chicago and Washington, and will be reporting on the critical reviews of Don DeLillo's play in the next couple days. In the meantime, no matter which side of the issue you may fall, I'd encourage anyone living in DC to see this important drama. But you'd better hurry. Performances only run through June 25.
Mame (The SOB Review) - The John F. Kennedy Center for the Performing Arts, Eisenhower Theatre, Washington, DC
***1/2 (out of ****)
Although I've previously enjoyed repeated viewings of Auntie Mame with Rosalind Russell, I had never before seen the glorious musical adaptation of Patrick Dennis' novel about his beloved aunt. I had no idea what I was missing. The Kennedy Center revival of Mame has an exuberant brilliance that shines throughout.
While critics unfortunately converged on the show during the third day of previews -- giving only tepid reviews to Christine Baranski's portrayal of the title character -- it's clear that had they waited, they would have seen the Mame they thirsted for. In a bravura performance, Baranski more than commands the stage and captures Mame's "live, live, live" essence with gusto. The queen of perfect timing, Baranski asserts herself, whether in delivering a comic line or deadpan look. Coupled with a gorgeous singing voice -- if not always enough to overpower the formidible orchestra -- this multi-talented actress possesses the charm, wit and poise to make hers a most triumphant and confident Mame, one who lives life to the fullest and persuasively encourages everyone around her to do the same.
Despite the show's lengthy running time, director Eric Schaeffer expertly moves this musical's story along almost as quickly as Baranski's costume changes (elaborately designed by Gregg Barnes channeling his inner Bob Mackie) and evolving glorious set designs by Walt Spangler (with one notable exception: the pastoral Connecticut setting looks like it was swiped directly off a Microsoft screen saver). The story envelopes us from the earliest moments, taking us from Mame's unusual introduction to her orphaned nephew Patrick (played by a precocious Harrison Chad) to the stock market crash, to her disastrous attempts to make ends meet during the Depression, to her romance with Beauregard Jackson Pickett Burnside (Jeff McCarthy lends a gentile warmth as this southern gentleman), to Patrick's ill-fated romance with an intolerant, smug girl who stands for everything Mame rails against.
Through it all, Mame is supported by her long-suffering friends Vera Charles (the brilliant Harriet Harris) and M. Lindsay Woolsey (the charming Ed Dixon), along with her trusted aides Ito (Alan Muraoka) and Agnes Gooch (the delightful Emily Skinner), who takes Mame's advice on living life to its fullest to a fault by letting her hair down along with her guard.
The heart and soul of this show come from Jerry Herman's beguiling score and book by Jerome Lawrence and Robert E. Lee (the same duo responsible for writing the play Auntie Mame). Warren Carlyle's intricate choreography from one of the show's earliest moments on "It's Today" lets you know that this is going to be one heck of a ride -- Baranski, by the way, can hoof it with the best of them, and that in itself is pretty spectacular. The music and dance crescendos with the breathtaking title tune centerpiece "Mame." If the second act isn't nearly as electrifying as the first, it's because the plot turns decidedly darker with the death of Beauregard, Agnes' unplanned pregnancy and Patrick's unfortunate choice of fiance.
Yet ultimately, Mame proves a feast for the senses and anyone who wants to relive the glory of old-fashioned musical genius. More importantly, Mame is a celebration of tolerance and the most American of ideals: the pursuit of happiness. The only thing that could make me any happier is a well-deserved transfer to the Great White Way.
DeLillo's Love-Lies-Bleeding Transfers to Kennedy Center
East Coast audiences will soon have the opportunity to see the thoughtful, nuanced Love-Lies-Bleeding by Don DeLillo (pictured), June 17-25 at the Kennedy Center's Terrace Theatre. This production is transferring directly from Chicago's Steppenwolf Theatre, home of the play's world premiere earlier this month. Jointly produced by Steppenwolf and the Kennedy Center Fund for New American Plays, Love-Lies-Bleeding examines family members' ethics, love and pain surrounding the moral question of whether to end a stroke victim's life.
As I noted in my May 8 review, "Whatever your moral convictions, DeLillo expertly weaves together both sides of the heartbreaking debate on when or if it’s ever appropriate to end another living being’s life. To be frank, I walked into this production fully anticipating that the Amy Morton-directed study in human emotions would be completely lopsided. Rather than being preachy, it provides a thoughtful analysis of what’s truly at stake on all sides."
With the transfer of the outstanding original Chicago cast -- including Steppenwolf's artistic director Martha Lavey and screen actor John Heard -- Washington audiences (and politicians), some of whom no doubt personally stepped into last year's Terry Schiavo debate, will surely find this production every bit as compelling.
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!
