Those audible gasps you may have heard from your nearest theatre-lover yesterday were likely because of news that Philip Seymour Hoffman and Mike Nichols confirmed they're teaming up to bring Broadway its fourth revival of Arthur Miller's Death Of A Salesman in the fall of 2011.
But the gasps may have been further induced by something beyond just that simple announcement. Countless tweets in the twitterverse were incredulous about Hoffman's casting, saying he is too young to play Willy Loman, the titular salesman.
Nonesense, I immediately retorted. Hoffman is an actor who is wise beyond his years, and to be honest, has an appearance that can easily belie his 43 years. And just as fast as I could say that, my friend with the encyclopedic mind -- the ever resourceful Kevin Daly of Theatre Aficionado At Large -- quickly pointed out that the legendary Lee J. Cobb was a mere 37 years when he created the iconic role in the first Broadway production in 1949.
While Cobb didn't even receive a Tony nod for his Willy, that premiere production would sweep Tonys in each of the six categories for which it was nominated. First opening at Broadway's Morosco Theatre on February 10, 1949, Death Of A Salesman would win Tonys for Best Play, Best Author (Arthur Miller), Best Director (Elia Kazan), Best Featured Actor (Arthur Kennedy), Best Scenic Design (Jo Mielziner) and Best Producers (Kermit Bloomgarden and Walter Fried). Perhaps even more prestigious was that the production -- which closed November 18, 1950 after 742 performances -- was honored with the 1949 Pulitzer Prize.
Little wonder this is among Miller's most revered works. And little wonder that so many other great actors hold out no greater hope than to sink their enterprising teeth into Willy Loman.
Yet surprisingly, the first Broadway revival didn't come for another 25 years when George C. Scott took on the role at age 47. With Scott also directing, Death Of A Salesman opened at the Circle in the Square Theatre on June 26, 1975. Although the cast included James Farentino as Biff and Harvey Keitel as Happy, the production would earn exactly one Tony nomination: for Scott's acting. The production closed after 71 performances.
The second revival came about just nine years later, opening at the Broadhurst Theatre on March 29, 1984. A then 46 year old Dustin Hoffman portrayed Willy alongside John Malkovich as Biff and Stephen Lang as Happy. The revival would earn the Tony for Best Reproduction. While it closed on July 1, 1984, after only 97 performances, the production would enjoy a return engagement at the Broadhurst for another 88 performances (September 14-November 18, 1984).
Perhaps the reason why so many think that Willy Loman is a man closing in on the twilight of his years is because of the last exceptional actor to make the role his own, Brian Dennehy. When the last Broadway revival of Death Of A Salesman was mounted by Robert Falls in 1999, Dennehy was already 60. But that didn't stop the theatre world from showering his performance with praise and accolades. Dennehy would win both the Tony and Drama Desk Awards for his portrayal.
That Death Of A Salesman first opened at the Eugene O'Neill Theatre on February 22, 1999. Packing a punch at the box office, the revival would enjoy 274 performances before closing on November 7, 1999. Its cast included Kevin Anderson as Biff, Ted Koch as Happy, Elizabeth Franz as Linda, Howard Witt as Charlie, and also Kate Buddeke (The Woman). All totaled, the revival earned six Tony nominations and scored wins for Best Revival, Falls, Franz and Dennehy.
Since that landmark production has become the gold standard by which most contemporary audiences judge Miller's play, it stands to reason that many can't conceive of Philip Seymour Hoffman as Willy Loman. Also, considering that Death Of A Salesman will herald Hoffman's first time back on Broadway's boards since earning a Tony nod for his effective portrayal as Brian Dennehy's son, James Tyrone, Jr. in 2003's Long Day's Journey Into Night, and it's no wonder the theatre world was gasping.
Of course, since that appearance, Hoffman has gone on to win an Academy Award for his breathtaking work as Truman Capote. I have little doubt he'll do just fine with Willy Loman.
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: Arthur Miller, Brian Dennehy, Broadway, Death Of A Salesman, First Word On New Show, George C. Scott, Lee J. Cobb, Mike Nichols, Philip Seymour Hoffmann, Play, Revival
SOB's Favorite Shows Of The Noughties: #18 - Long Day's Journey Into Night (2003, Plymouth Theatre, New York City, NY)
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. One of the most acclaimed productions of its year and quite deservedly so, this
Robert Falls-helmed revival of
Eugene O'Neill’s semi-autobiographical classic
Long Day's Journey Into Night more than captured his family’s deep descent into hell.
Its stellar cast included
Vanessa Redgrave and
Brian Dennehy at their very best. As matriarch Mary Tyrone, Redgrave offered one of the most harrowing downward spirals I've ever witnessed on stage. As patriarch James Tyrone, Dennehy provided a deceptively subtle performance.
Considering that the exceptional
Philip Seymour Hoffman and
Robert Sean Leonard helped round out the cast, this was one must-see theatrical event that exceeded expectations.
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: Brian Dennehy, Broadway, Eugene O'Neill, Long Day's Journey Into Night, Philip Seymour Hoffmann, Revival, Robert Falls, Robert Sean Leonard, SOB's Favorite Shows Of The Noughties, Vanessa Redgrave
Relieving My DoubtWhen I saw
John Patrick Shanley's Pulitzer Prize and Tony Award-winning
Doubt in March 2005,
I was in complete awe of this completely compelling drama. With the redoubtable
Brían F. O'Byrne as Father Flynn sparring with Tony-winner
Cherry Jones as Sister Aloysius, we were left debating, “Did he or didn’t he?” long after our departure from the theatre.
But upon entering the movie theatre a week ago, I have to confess that I had my doubts as to whether
Shanley's personally directed screenplay could match that live theatrical experience audiences had found so riveting just a few short years ago.
With
Philip Seymour Hoffman and
Meryl Streep now in the leads, I should have known better. Their extraordinary performances were both enthralling and pitch perfect.
My larger concern was whether the silver screen incarnation would give too much away. After all, Shanley's small play only included four principal actors. A film version would by its very nature demand greater context and additional characters, including those who had only been mentioned in the play. Again, my fears were allayed. Yes, the stage version of
Doubt forced its audience to rely entirely on hearsay, but I believe the key visuals in the movie were so expertly crafted by Shanley, that precious little is given away.
Just as the stage version offered excellent turns by
Heather Goldenhersh as Sister James and Tony Award winner
Adriane Lenox as the conflicted Mrs. Muller, the screen version offers no less compelling performances by
Amy Adams and
Viola Davis. Both are superb.
Best of all, just as with
Doubt on stage, we were still discussing whether or not he did it. Bravo to John Patrick Shanley and cast.
While I've just begun my annual holiday filmgoing spree, I can tell you that to date, "
Doubt" is the best movie I've seen all year.
UPDATE (12.21.08, 8:10 p.m. EST): Scratch that last item. I just came back from "
Slumdog Millionaire" -- a movie unlike any other. Yes, I love "Doubt," but "Slumdog Millionaire" is in a class unto itself. My advice? Go see them both!
This is Steve On Broadway (SOB).
Labels: Amy Adams, Brian F. O'Byrne, Broadway, Cherry Jones, Doubt, Film, Heather Goldenhersch, John Patrick Shanley, Meryl Streep, Philip Seymour Hoffmann, Play, Viola Davis
Will Third Time on Broadway Yield Tony Charm for Hoffman?One of the most arguably versatile actors of our age is reportedly ready to return to Broadway for his third time. Academy Award winner and two-time Tony nominee
Philip Seymour Hoffmann will make his way back to the Great White Way to star in
Michael Weller's
50 Words.
Hoffman previously tread the boards in acclaimed performances in
True West (2000) and
Long Day's Journey Into Night (2003); he was Tony nominated for his roles in both plays. I had an opportunity to see the latter -- the heartbreaking, Tony Award-winning revival of
Eugene O'Neill's most autobiographical work. The much-praised production famously starred
Vanessa Redgrave and
Brian Dennehy along with
Robert Sean Leonard. All gave magnificent, nuanced performances.
Hoffman will reportedly make his return once his enormously busy schedule frees up. I have no doubt it will be worth the wait.
This is Steve On Broadway (SOB).
Labels: 50 Words, Broadway, Long Day's Journey Into Night, Philip Seymour Hoffmann, Play
Casting Call (Week Ending May 21, 2006)
Although theatrical news over the past two weeks has largely been devoted to late 2005-06 season openings, as well as award nominations and wins, there has also been a significant number of announcements pertaining to upcoming productions and their casts.
While the casting news that may have received the most buzz has been that surrounding Hugh Jackman and his participation in the Taylor Hackford-helmed workshop of
Leap of Faith (based on the 1992 movie with Steve Martin), perhaps the most noteworthy report surrounds recently-minted Academy Award-winning actor Philip Seymour Hoffman’s return to the stage in LAByrinth Theater’s
Jack Goes Boating. I last saw Hoffman in the haunting semi-autobiographic Broadway portrait of Eugene O’Neill’s family in
Long Day’s Journey Into Night a few years ago in which Hoffman co-starred alongside Tony Award-winners Brian Denehy, Vanessa Redgrave and Robert Sean Leonard. In
Jack Goes Boating, beginning this winter, Hoffman will be joined by John Ortiz and the always delightful Daphne Rubin-Vega.
As for Jackman, it’s clear that his participation is much in demand as he’s also been rumored to be sought for a new Joe Mantello-helmed Broadway revival of
Pal Joey, as well as
Stop the World, I Want to Get Off. Celebrated choreographer Matthew Bourne’s name has also been attached to the
Pal Joey revival. As Jackman demonstrated through his triumphant, Tony Award-winning portrayal of Peter Allen in
The Boy From Oz, he can turn even the most dubious of roles into a tour-de-force performance. He was absolutely remarkable. The only drawback in that show was that he was compelled to impersonate the nasally Allen rather than using his glorious, natural voice. Regardless of which production he’s ultimately attached to, I’m looking forward to once again enjoying this gifted performer.
Other recent and noteworthy casting includes. . . . Disney’s announcement that Donny Osmond -- often the perennial Joseph in various productions of Andrew Lloyd Webber’s
Joseph and the Amazing Technicolor Dreamcoat -- will soon be the new Gaston in the long-running Broadway hit
Beauty and the Beast. I’ll be interested in learning whether Osmond has seriously bulked up or will simply use padding to play Belle’s dim suitor . . . . Tony Award-winner Chuck Cooper will join 80s pop idol-turned-Broadway actress Deborah Gibson in Van Hill Entertainment’s production of
Saint Heaven, a spiritually-toned musical love story that begins performances at the Stamford (CT) Center for the Arts, June 1-11. I last saw Gibson in the role of
Rodgers & Hammerstein’s Cinderella opposite Eartha Kitt’s fairy Godmother several years ago. . . . Jeremy Kushnier, Andy Karl and his real-life wife Orfeh will star in the musical version of
Bright Lights, Big City. Karl, whom I originally saw in
Disney’s On the Record in 2004, has made quite a name for himself over the past year, particularly with his Off-Broadway role in the much-lauded
Altar Boyz, as well as his lead role in
Slut.
Bright Lights, Big City -- the new adaptation of the famed Jay McInerny novel -- will descend on Philadelphia’s Prince Music Theater, beginning June 14 for a limited premiere engagement. . . . and finally, Linda Gray leads the casting in the stage adaptation of
Terms of Endearment, which has already been announced as part of the upcoming season in both Houston and Hartford in 2007. Gray is undoubtedly best known for her years portraying Sue Ellen Ewing on television’s “Dallas.” But more recently, she assumed the role of Mrs. Robinson in the stage version of
The Graduate.
Expect more exciting casting news in the weeks ahead.
This is Steve On Broadway (SOB).
Click here for Jack Goes Boating/LAByrinth ticket information.
Click here for Beauty and the Beast (Broadway) tickets.
Click here for Saint Heaven tickets.
Click here for Bright Lights, Big City tickets
Click here for Terms of Endearment (Houston Alley) ticket information.
Related Stories:Casting Call (Week Ending June 7, 2006) (June 7, 2006)
Labels: Beauty And The Beast, Casting Changes, Donny Osmond, Hugh Jackman, Jack Goes Boating, Long Day's Journey Into Night, Pal Joey, Philip Seymour Hoffmann, Stunt Casting, The Boy From Oz
