Enron (The SOB Review) - Broadhurst Theatre, New York, New York
***1/2 (out of ****)Too big to fail?
Too
soon?
Even more quickly than corporate giant
Enron collapsed nearly ten years ago, the
Broadway show bearing its name has already
posted its closing notice for this Sunday, May 9.
That came just hours after this year's slate of Tony nominations were announced. While British import
Enron earned a respectable four nods, including almost improbably (but deservedly) in the Best Original Score category for its playwright
Lucy Prebble and sound designer
Adam Cork, the captivating thrill ride of a play with music failed to win any nods in the Best Play, Best Direction of a Play (
Rupert Goold) and Best Lead Actor in a Play (
Norbert Leo Butz) categories. So for a show about failure, it seemed to be living up to its name.
But hold on a minute.
I for one regret not writing enthusiastically about this highly stylized gem of a show earlier. In my humble estimation, this breathtaking work should have been nominated in each of the aforementioned categories. But I sensed that Tony nominators, if not New Yorkers in general, are weary of all things Wall Street, let alone allusions to 9/11, which is a shame because we cannot afford to have the complete collapse of either our economy or other towers ever occur again.
Perhaps we just don't like being lectured by the British, although I submit we can learn a lot from our mother country. In
Enron, Prebble slyly portrays the slippery slope of self-deception onto which the company's principals placed themselves, beginning with the disingenuous
mark to market accounting principles right through the creation of the deceptive
LJM. Prebble presents plausible rationales, however deluded, under which
Jeffrey Skilling (Butz),
Andy Fastow (an exceptional
Stephen Kunken) and ultimately
Kenneth Lay (
Gregory Itzin) were operating.
Butz, as you've never seen him before, is particularly brilliant in his first truly dramatic role on Broadway. Nailing the quirky behavior of an industry wonk, it's simply astonishing to watch his metamorphosis into a ruthless would-be titan. Despite what the nominators have said, I thought his to be the best performance I've yet to see him deliver on stage. Butz is a fierce force with whom to be reckoned.
As for reckoning, Wall Street would do well to remember the phrase coined by Spanish philosopher
George Santayana's that, "Those who cannot remember the past are condemned to repeat it." Lucy Prebble's
Enron should be required viewing for everyone associated with Wall Street. If it actually were, the show would be running for years.
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: Adam Cork, Broadway, Closing Notices, Enron, Lucy Prebble, Norbert Leo Butz, Play, Rupert Goold, Stephen Kunken, The SOB Review
Macbeth (The SOB Review) - Lyceum Theatre, New York, NY** (out of ****)Forget, just for a moment, all the stylishly subversive and ultimately superfluous Stalinist influences infused by director
Rupert Goold into this maddeningly uneven, noisy revival of
William Shakespeare's bloody classic.
Essentially, what Goold has created is the world's first hiphop
Macbeth, complete with its trio of rapping witches, er, wee
atches, baby. You have to give him credit for being inventive.
With plenty of piss and vinegar, Goold throws in everything,
including the proverbial kitchen sink. Heck, he even goes so far as to provide a gratuitously perverse peeing
in the kitchen sink from
Christopher Patrick Nolan's appropriately named Seyton, footsoldier to
Macbeth. Suffice to say, at times Goold's pretentious production
often borders on the obscene when it isn't reaching for parody.
Fortunately, this crass rendition of Shakespeare's bloodcurdling warrior-cum-king and his manipulative wife (a seductively chilling
Kate Fleetwood) rises whenever a superb follicularly-challenged, classicly-trained English actor takes to the stage. No, I'm not talking about
Patrick Stewart as the eponymous traitor, although this gifted thespian does offer up a fairly competent take that like much of this bombastic production is all too often muted by
Adam Cork's overblown sound design.
No, it was the brilliantly nuanced portrayal of Macduff by the aptly named
Michael Feast, who provides a veritably bold Bard banquet as the nobleman agonizing over the death of his family. His gritty determination to avenge their murders is amplified, ironically enough, because Cork's sound is specifically turned down.
Thankfully, Goold has also enlisted Broadway's ubiquitous
Byron Jennings with all-to-brief, but welcome appearances both as King Duncan of Scotland (who meets with his bloody end at the hands of
Macbeth fairly early) and a Scottish doctor. Blessedly, Jennings has also mastered the art of enunciating his words so they may be understood and savored by the audience.
Never mind, however, that this is, indeed, the Scottish play. Evoking the Soviet's most ruthless dictator,
Lorna Heavey's frequently repetitious yet equally enthralling projection design and
Howard Harrison's eerie lighting add tremendous texture to
Anthony Ward's deceptively simple set, making for a visually stunning set design.
But all this overblown pomposity, amped up a few decibles too many, needlessly overtakes
Macbeth's often obsolete Old English language that's spoken with largely indecipherable accents. In the end, it only serves to obscure what is arguably Shakespeare's greatest tragedy.
And
that's the biggest tragedy, if you ask me.
This is Steve On Broadway (SOB).
Labels: Broadway, Kate Fleetwood, Macbeth, Michael Feast, Patrick Stewart, Play, Revival, Rupert Goold, The SOB Review, Transfer, William Shakespeare
Did Critics Think Macbeth Revival Foul Or Fair?Last evening, Director
Rupert Goold's acclaimed London production of
William Shakespeare's
Macbeth starring
Patrick Stewart opened at the Great White Way's
Lyceum Theatre.
On the other side of the pond,
Goold was honored just last month with an Olivier Award for turning the Bard's work into a more contemporary tale by borrowing heavily from
Joseph Stalin’s
Great Terror. The play transferred from London to Broadway by way of the
Brooklyn Academy of Music (BAM) where it played earlier this year; many critics are allowing their earlier critiques to stand.
Heralding this "a
Macbeth you'll never be able to forget,"
Clive Barnes of
New York Post awards the production four stars: "Goold's brilliance is not in time or place but method - dissecting the play's pathological madness better than I've ever seen. His radical production choices, so wholeheartedly embraced by his cast, offers a
Clouzot-like film noir environment (backed up with cool, black and dazzling efficiency by his designer,
Anthony Ward) which runs from field hospital to abatoir to kitchen, from shabby banquet table to darkling wood.... The 67-year-old Stewart ... has reinvented himself from an admirable character actor to one of the stars of the English-speaking theater."
While taking note of "an admittedly kitchen-sink aspect to the proceedings" that "threaten to overwhelm,"
Frank Scheck of
The Hollywood Reporter is nevertheless largely positive: "Stewart delivers a fascinatingly complex performance in the title role, cannily hinting at the character's initial hesitancy and vulnerability before adopting a more fearsome demeanor.... He's well matched by
Kate Fleetwood's particularly sultry Lady Macbeth -- that she's so much younger than her co-star only adds to
Macbeth's motivation -- and
Michael Feast's subtly anguished Macduff."
Deeming the revival "overstated but fascinating,"
USA Today's
Elysa Gardner offers three out of four stars: "[F]lashy features, plus high-pitched performances by Michael Feast as Macduff and
Christopher Patrick Nolan as the demonic porter, are miraculously put in context by Stewart's witty, nuanced work, which reveals
Macbeth as an intelligent, rational person driven to madness by outside forces and his own violent transgressions."
In his February review of the BAM incarnation,
The New York Times'
Ben Brantley took particular note of Stewart's performance: "[A]ll (the show's) sound and fury would signify, if not nothing, then yet another politically minded evening of Shakespeare in period drag were it not for the brilliant performance at its center. What makes this one a must-see is Mr. Stewart’s thrilling recognition that his character is as close kin to the fatally introspective Hamlet as he is to power-wielding men of ill will like Richard III. His performance is the first I have seen to realize completely what the scholar Harold Bloom means when he calls this play 'a tragedy of the imagination.' Small wonder that Lady Macbeth (Kate Fleetwood, excellent and original) -- willful, canny and hard-wired for success -- sees danger signs whenever her husband’s gaze goes hazy."
Concluding that Stewart offers a "commanding, meticulously shaded performance in a production generally far less subtle, but unstinting in high-style inventiveness,"
Variety's
David Rooney also reviewed the earlier BAM staging: "Exactly how well Stewart is served by the blood-soaked flamboyance of Rupert Goold's overburdened production will be a matter of taste, but the rising-star Brit director's
Macbeth is as cinematic as it is boldly theatrical. It may not always elucidate the plot or characters to best advantage but it sure keeps you glued.... Goold's take on one of Shakespeare's most violent plays is to make it even more horrific, freely mixing bone-chilling supernatural shivers with vicious warmongering,
Machiavellian politics, psychological unease and technological intrusions."
Calling "this occasionally overstuffed form," in his earlier BAM review,
Eric Grode of
The New York Sun offers a mixed review: "The milk of human kindness, always a rare commodity in Shakespeare's spare but unsparing
Macbeth, is nowhere to be found in the scorched-earth production on grisly display at the Brooklyn Academy of Music. Set amid the depravity of Stalinist Russia and firmly anchored by a wrathful Patrick Stewart, director Rupert Goold's daring and diabolical mounting turns all of Scotland into a virtual abattoir, peopled with little more than a pile of corpses that an ever-dwindling coterie of survivors must climb over on the way to a gore-slicked crown."
This very limited engagement is due to close on May 24, several weeks before the revival is expected to be in contention for the Tonys. Having missed the BAM staging, I'll be taking in a production early next month on Broadway and provide my own SOB Review soon thereafter.
This is Steve On Broadway (SOB).
Click here for tickets.Related Stories:Lucky #45? Macbeth Opens On Broadway (April 8, 2008)
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No Exaggeration: Dead To Depart Broadway (February 26, 2008)
2008 Laurence Olivier Award Nominations Announced (February 6, 2008)
Labels: Broadway, Critics' Capsule, Macbeth, Patrick Stewart, Play, Revival, Rupert Goold, Transfer, William Shakespeare
Lucky #45? Macbeth Opens On BroadwayThis evening, the celebrated
Rupert Goold-helmed revival of
William Shakespeare's
Macbeth opens for a very limited engagement at Broadway's
Lyceum Theatre.
Starring
Patrick Stewart as the eponymous Scottish general, this is a play that instills so much legendary fear among theatregoers
(
correction: casts and crews - my apologies)theatregoers that the name
Macbeth is rarely uttered inside the theatre. Instead, just call it "The Scottish Play."
With previous New York performances dating all the way back to the 1700s, this London transfer is the 45th incarnation of the notorious work.
Will critics swoon? Find out tomorrow when I provide my critics' capsule.
This is Steve On Broadway (SOB).
Click here for tickets.Labels: Best New Plays, Broadway, London, Macbeth, Opening Night, Patrick Stewart, Revival, Rupert Goold, Transfer, William Shakespeare
