Monday, February 19, 2007

Was Utopia's Last Chapter Nirvana For Critics?

Was Utopia's Last Chapter Nirvana For Critics?

Rounding out a trilogy that began last fall with Voyage, the final chapter of Tom Stoppard's epic The Coast Of Utopia has finally landed with Salvage opening at Lincoln Center. Both Voyage and Shipwreck garnered glowing reviews. Most critics seemed to find the final act somewhat anticlimactic, but still praised the overall landmark effort.

Proclaiming it a "dazzling and wonderfully satisfying trilogy" in his four-star review is Clive Barnes of New York Post: "Looking back at Stoppard's wordy yet exhilarating dramatic tapestry, I'm amazed at how thrillingly this Lincoln Center company -- helped by Jack O'Brien's alertly balanced staging -- has brought it off. (Brían F.) O'Byrne, whose sensitive development of Herzen's character covers the entire span of Voyage, Shipwreck and Salvage, fascinatingly provides the fulcrum of the trilogy. But it's unfair to single him out, since (Ethan) Hawke has never been better than here as Bakunin, a cadging, shining-eyed monster of opportunistic anarchy."

Less enthusiastic about the concluding chapter is Variety's David Rooney: "Traveling with the drama's cast of exiles and emigres through to the conclusion is exhilarating, edifying and at times a little enervating. But even if the final chapter, Salvage, is the weakest of the three plays, the overall achievement remains undiminished....Unlike the first two plays, the elegance and erudition of Stoppard's writing are undermined at times by the challenge of cramming so much information into a dramaturgical package, with characters often recapitulating events purely for the audience's benefit. All that aside, there's still more dazzling stagecraft in any one of these three Lincoln Center Theater productions than most companies can muster in several seasons."

Newsday's Linda Winer appears to concur: "Salvage...isn't remarkable for the one or two boggling visual moments that were the talk of its predecessors. The production...is as masterly as ever, again beginning with the sight of the aging Alexander Herzen in a turning chair that hovers high above the silken ravages of the sea. But this one's moodier, at times hallucinatory, as Stoppard hones in on Herzen, finally the main character among the many....Ethan Hawke, perhaps the biggest surprise of the trilogy, can show the lifelong arch of Bakunin, the overbearing, eager young aristocrat who becomes the equally overbearing anarchist. Jennifer Ehle, so radiantly complex as Herzen's wife in Shipwrecked, now plays the equally complicated but unyielding German governess."

Deeming the production "an ungodly mess" and "heavenly spectacle," Ben Brantley of The New York Times starts his review by focusing more on the trilogy itself: "Despite its status as the season’s ultimate snob ticket, a concert of clever historical name-dropping orchestrated to give middle-brow audiences the illusion of a brow lift, The Coast of Utopia is as hot-blooded and teary-eyed as your average afternoon soap opera. I wouldn’t call it a major work of art. In literary terms I wouldn’t even rank it with Mr. Stoppard’s best....But as directed by Jack O’Brien and acted and designed by a stellar team of artisans, Utopia is a major work of theatrical craftsmanship."

The Associated Press' Michael Kuchwara also weighs in: "Rueful resignation isn't as dramatically exciting, so the Lincoln Center Theater production of Salvage doesn't have the innate theatricality that propelled Voyage and Shipwreck, the first two-thirds of Stoppard's mammoth work. Yet that doesn't stop director Jack O'Brien and his amazing company of actors from breathing urgency into the demanding, sometimes dense conversations of these squabbling European firebrands in exile in Victorian England.... [T]he thoughtful and commanding Brian F. O'Byrne...is the rock who anchors much of the trilogy through its most meandering moments."

Is it a wonder that the marathon performances of the entire trilogy that begin this Saturday are one of New York City's hottest tickets?

This is Steve On Broadway (SOB).

Click here for tickets.
Related Stories:
Cleaning Up: Salvage Operation Begins Tonight On Broadway (February 18, 2007)
Did Critics See Ship Wreck Or Hit? (December 22, 2006)
Unstoppable: Stoddard's Shipwreck Coasts Into Opening Night (December 21, 2006)
Did Critics Enjoy Voyage's Ride? (November 28, 2006)
Coast Of Utopia Begins Broadway Voyage This Evening (November 27, 2006)

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Sunday, February 18, 2007

Cleaning Up: Salvage Operation Begins Tonight On Broadway

Cleaning Up: Salvage Operation Begins Tonight On Broadway

This evening, Salvage finally opens at the Lincoln Center Theater at the Vivian Beaumont.

The two-and-a-half hour play is actually the third and final installment of Tom Stoppard's mammoth The Coast Of Utopia. Helmed by Jack O'Brien, the trilogy also includes Voyage and Shipwreck, each clocking in at over three hours.

Given the overwhelming critical acclaim for the first two portions, tonight's opening has become very eagerly anticipated. We'll learn tomorrow whether New York critics believe this Salvage operation measures up to the rest of the journey.

This is Steve On Broadway (SOB).

Click here for tickets.
Related Stories:
Did Critics See Ship Wreck Or Hit? (December 22, 2006)
Unstoppable: Stoppard's Shipwreck Coasts Into Opening Night (December 21, 2006)
Did Critics Enjoy Voyage's Ride? (November 28, 2006)
Coast Of Utopia Begins Broadway Voyage This Evening (November 27, 2006)

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Friday, December 22, 2006

Did Critics See Ship Wreck Or Hit?

Did Critics See Ship Wreck Or Hit?

Last evening, Shipwreck -- the second installment of Tom Stoppard's epic trilogy The Coast Of Utopia -- opened at Lincoln Center. After the first "act" opened to mostly enthusiastic reviews, how did this one fare?

Ever effusive in his praise, The New York Times' Ben Brantley positively beams: "The sumptuous Lincoln Center production of Shipwreck, the second part of Mr. Stoppard’s absorbing Coast of Utopia trilogy about Russian idealists errant in the 19th century, is filled with coups de théâtre....[T]he most stunning moment of all arrives when Mr. Stoppard simply pulls the plug on the dense talk that has been buzzing from the stage of the Vivian Beaumont Theater...and asks us to experience a world hitherto defined, above all, by words through the perspective of a deaf child."

Also providing laurels is David Rooney of Variety: "[T]he most unexpected and enriching surprise of Shipwreck...is that its intellectual vigor is equaled, perhaps even surpassed by its enormous emotional vitality. Jack O'Brien's mesmerizing production of part one, Voyage, was a dazzling theatrical achievement. In this Euro-trotting second chapter, the political and personal passions of the play's dreamy-eyed 19th-century Russian revolutionaries ripen with age and experience, making it arguably even better."

Newsday's Linda Winer apparenly concurs: "Jack O'Brien's astonishing, visually stupendous production has further tightened its grip with ever more engrossing tales of the privileged young Russian thinkers who began the sweep of massive social change....We are relieved to find both continuity and new splendors in the masterly creative team -- in sets by Bob Crowley and Scott Pask, costumes by Catherine Zuber and lights by Kenneth Posner."

Calling themoments in Shipwreck "quite extraordinary," the Associated Press' Michael Kuchwara agrees in his glowing review: "[M]ore often than not, it has heart and a deep emotional underpinning. Near the end of Shipwreck, there is a speech by Herzen of such aching beauty that if you are not moved to tears, you must be made of stone."

Offering up a three-and-a-half star review, USA Today's Elysa Gardner notes: "Stoppard's piquant, probing dialogue allows Herzen to expound wittily, and movingly, on intellectual matters and matters of the heart, which are by no means mutually exclusive here. (Jennifer) Ehle makes a convincing soul mate and sparring partner, relaying Natalie's fierce emotions and convictions with a stringent intensity. Other members of Coast's luminous cast get less stage time but shine whenever they're on....Jack O'Brien's robust direction and Bob Crowley and Scott Pask's stunning set design serve everyone well. True, Stoppard's script would sound glorious if recited by students in a dingy classroom, but to see such style and substance merge with spectacle is a rare treat, on Broadway or anywhere."

The Coast Of Utopia has already found it necessary to extend its marathon season beyond its initial sold-out status. These reviews will no doubt make the remaining allotment of tickets extremely difficult to come by. Could another extension be in its future?

This is Steve On Broadway (SOB).

Click here for tickets.
Related Stories:
Did Critics Enjoy Voyage's Ride? (November 28, 2006)
Coast Of Utopia Begins Broadway Voyage This Evening (November 27, 2006)

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