Whom Would You Cast In August: Osage County Film?
It's already been over two years since
Variety first confirmed that Letts was revisiting his work by writing the screenplay.
Fantasy casting for the big screen version of the work began more than a half year earlier.
As for me, if
Deanna Dunagan and
Amy Morton aren't going to be cast, I can think of no other actress more capable of delivering Violet than Meryl Streep, who is perhaps
the greatest living actress on the planet. Julia Roberts may be the world's biggest movie star, but I'm not entirely convinced she has the chops to take on Barbara. If she is cast, I hope to be proven wrong.
Additionally, I'm still holding out hope that the film version, to be directed by
John Wells, will include at least a couple of the original cast members from
Steppenwolf. My top choice?
Rondi Reed to recreate her Tony-winning turn as Aunt Mattie Fae Aiken.
It's your turn to weigh in on whom you'd cast. Whom do you believe should round out this dysfunctional family in a movie theater near you? (My friend Kevin Daly of
Theatre Aficionado At Large has already weighed in
here.)
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: Amy Morton, August Osage County, Casting, Chris Jones, Deanna Dunagan, Fantasy Casting, Film, Julia Roberts, Meryl Streep, Rondi Reed, Steppenwolf, Tracy Letts
August: Osage County (The SOB Revisit) – Main Stage, Sydney Theatre Company, Sydney, New South Wales, Australia
**** (out of ****)Jet lag be damned.
Despite being on Aussie soil for only a week, the excellent troupe from Chicago’s
Steppenwolf Theatre is firing on each and every one their finely calibrated cylinders. That includes
extraordinary new ones they’ve picked up along their lengthy journey from their
Windy City home base to Sydney via
Broadway and
London.
While I’ve long since run out of superlatives to adequately describe
Tracy Letts’
August: Osage County, a magnificent modern American masterpiece if there ever was one, I’ve never seen it in better shape than I did Tuesday evening here in Sydney. With no trace of irony or hint of hyberbole whatsoever, Tuesday's opening night constituted the single best night I've ever spent in a theatre.
After having begun going their own ways immediately after the explosively comedic drama earned the Tony Award for Best Play in 2008, the cast reunited less than one month ago and only resumed live performances last week. But you’d never know it.
Just like close friends who are able to pick up where they last left off, these exceptional actors -- including the mindblowing
Deanna Dunagan as the drug-addled matriarch Violet Weston, the raucously funny
Rondi Reed as her sister Mattie Fae Aiken, the formidible
Amy Morton as Violet's take-charge daughter Barbara Fordham), along with
Mariann Mayberry (Karen Weston),
Sally Murphy (Ivy Weston),
Jeff Perry (Bill Fordham),
Kimberly Guerrero (Johnna Monevata) and
Troy West (Deon Gilbeau) -- succeed in building on the dysfunctional family they created over three years ago. In finding further depths in their relationships with one another, each is giving the performance of their lives.
The result is a breathtaking blast into the stratosphere. Buckle up, because it just may be best -- and bumpiest -- theatrical ride of your life. And a spine-tingling one at that.
For me, this unforgettable experience was well worth the trip to Sydney.
August: Osage County is an unmissable milestone in American theatre.
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: Amy Morton, Anna D Shapiro, August Osage County, Deanna Dunagan, Opening Night, Play, Rondi Reed, Steppenwolf, Sydney, Sydney Theatre Company, Tracy Letts
August Down Under Over EasyThis evening,
Tracy Letts' Pulitzer Prize and Tony Award-winning
August: Osage County may be opening for its
second time in Australia, but
this time it's doing so for the first time with most of its
original Steppenwolf (and
Broadway) cast and crew from Chicago.
The
entire production has been imported,
kit and
kaboodle, by
Sydney Theatre Company's Artistic Directors
Cate Blanchett and
Andrew Upton for its Main Stage.
While performances began on August 13, tonight marks this cast's
fourth opening night, after having first performed this modern masterpiece at
Steppenwolf's home in
Chicago,
on Broadway and
at London's
National Theatre.
Recreating their stunning Tony Award-winning turns Down Under are
Deanna Dunagan as Violet Weston and
Rondi Reed as her sister Mattie Fae Aiken, along with their original Steppenwolf castmates
Amy Morton (Tony nominated for her brilliant portrayal of Barbara Fordham),
Mariann Mayberry (Karen Weston),
Sally Murphy (Ivy Weston),
Jeff Perry (Bill Fordham),
Kimberly Guerrero (Johnna Monevata) and
Troy West (Deon Gilbeau).
Other casting includes
Molly Ranson (Jean Fordham) who was a Broadway replacement in the role of Jean Fordham, and three members of the London cast:
Chelcie Ross (Beverly Weston),
Paul Vincent O'Connor (Charlie Aiken) and
Gary Cole (Steve Heidebrecht). The only truly new cast member is
Gary Wilmes, who portrays Little Charles.
Once again, Tony Award-winning director
Anna D. Shapiro helms this inherently American tale, and as she so eloquently told the
Sydney Morning Herald yesterday, "Our company can do fraught standing on its head."
If you live anywhere near Sydney, make every effort to get tickets to see
August: Osage County. Why? Because unlike any other import from the United States, this represents contemporary American drama at its absolute best. You can't afford to miss it.
In fact, I simply couldn't resist coming back to Sydney myself. Indeed, this evening, I'll once again lose myself in Letts' epic work one last time .... at least with original castmembers.
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: Amy Morton, Anna D Shapiro, August Osage County, Deanna Dunagan, Opening Night, Play, Rondi Reed, Steppenwolf, Sydney, Sydney Theatre Company, Tracy Letts
August August AugustNearly one year ago,
I reported here that
Tracy Letts' august masterpiece
August: Osage County and most of its original
Steppenwolf (and
Broadway) cast and crew would be Australia-bound this August.
Now it's been confirmed that
Deanna Dunagan and
Rondi Reed will reprise their magnificent Tony-winning turns as Violet Weston and Mattie Fae Aiken, respectively, one more time at the
Sydney Theatre Company's Main Stage.
Once again, they'll be joined by original Steppenwolf castmates
Amy Morton (Tony nominated for her brilliant portrayal of Barbara Fordham),
Mariann Mayberry (Karen Weston),
Sally Murphy (Ivy Weston),
Jeff Perry (Bill Fordham),
Kimberly Guerrero (Johnna Monevata) and
Troy West (Deon Gilbeau).
Other casting includes
Molly Ranson (Jean Fordham) who was a Broadway replacement in the role of Jean Fordham, and three members of the London cast:
Chelcie Ross (Beverly Weston),
Paul Vincent O'Connor (Charlie Aiken) and
Gary Cole (Steve Heidebrecht). As Little Charles, only
Gary Wilmes is completely new to the cast.
Wilmes replaces
Ian Barford, husband of
August: Osage County director
Anna D. Shapiro. Not only will Barford will tend to his fatherly duties back home while Shapiro once again shapes the show in Sydney, but Steppenwolf audiences will see him on their boards again this September in
Detroit alongside
Laurie Metcalf.
August: Osage County begins performances at the
Sydney Theatre Company August 13 with previews on August 14 and 16. The play opens Down Under on August 17 and performances are currently scheduled through September 25.
This is Steve On Broadway (SOB).
Labels: Amy Morton, Anna D Shapiro, August Osage County, Broadway, Chicago, Deanna Dunagan, London, Rondi Reed, Steppenwolf, Sydney, Sydney Theatre Company, Tracy Letts
SOB's Favorite Shows Of The Noughties: #1 - August: Osage County (2007, Downstairs Theatre, Steppenwolf, Chicago, IL/2008, Imperial Theatre, New York City, NY/2008, Music Box Theatre, New York City, NY/2008, Lyttelton Theatre, National Theatre, London, United Kingdom)
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. Was there any doubt that
August: Osage County would ranks as my favorite show of the decade?
Since
first being blown away in the Windy City by
Tracy Letts' Pulitzer Prize-winning masterpiece back in (appropriately enough) August 2007, I've devoted considerable space to the best-written, best-acted play I've ever seen at Chicago's
Steppenwolf, and that's no small feat.
In
August: Osage County, Letts has constructed an absolutely brilliant, riotous script that provided for one stellar performance after another by its excellent ensemble. During its acclaimed Broadway run, the play ran even deeper, packing a more lethal, visceral punch than what I saw in Chicago, hitting even harder with greater precision that I would not have even thought possible. Credit
Anna D. Shapiro for sharpening this play into a razor-sharp, whip-smart American classic. It was even funnier, too.
In London, it took on additional shadings for me as an indictment on American society for the many grievances that came to roost as our economy went over a cliff.
Deanna Dunagan (Violet) delivered a bravura performance for the ages as the matriarch of the Weston clan. But she was matched by an equally stunning ensemble, with
Amy Morton giving as good as she got, and even better, as Violet's daughter Barbara;
Rondi Reed's Mattie Fae was likely to remind you of your favorite, if she wasn't so crazy, aunt; and
Francis Guinan as Mattie Fae's long-suffering husband Charlie offered a sweet dignity to the proceedings, especially when tempered by one of the play's many revelations exposing the startling truth about his own son.
Since first seeing the show in Chicago, I've known that I had witnessed something very, very special in the world of live theatre. Upon considerable reflection, I can attest that this is the best new theatrical work I've seen over the last ten years. It most certainly was almost my personal favorite of the decade.
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 each of these performances.Labels: Amy Morton, Anna D Shapiro, August Osage County, Broadway, Chicago, Deanna Dunagan, Francis Guinan, Rondi Reed, SOB's Favorite Shows Of The Noughties, Steppenwolf, Tracy Letts
American Buffalo (The SOB Review) – Downstairs Theatre, Steppenwolf, Chicago, Illinois
***1/2 (out of ****)
Admittedly, playwright
David Mamet’s works are an acquired taste. But having acquired that taste long ago, I found
Amy Morton’s retro-cool revival of his
American Buffalo a veritable feast.
Not every actor possesses the required panache to effectively deliver Mamet’s rat-a-tat-tat, back-and-forth give and take.
American Buffalo certainly has its share of the playwright’s coarse trademark language. It requires absolute, unmistakable precision in order to succeed. Make no mistake, this
Steppenwolf production succeeds in spades.
Fortunately in this tale of amateurs planning a heist of one very expensive nickel, Morton is directing a trio of genuine pros. Steppenwolf ensemble members
Francis Guinan as Don and
Tracy Letts as Teach are both in prime (and even primal) form, while relative newcomer
Patrick Andrews more than holds his own as the dim Bob.
From 2001-2007, you almost could not see a Steppenwolf production without witnessing Letts’ personal metamorphoses, losing himself completely in each dramatically different role. Despite a two and a half year absence from being on stage, Letts never misses a beat and brilliantly masters Mamet’s rat-a-tat-tat banter. He finds all the subtle shadings of this most shady character -- enough, that you can’t help but feel a twinge of regret for Teach during his pivotal moment of truth in the second act.
These days at Steppenwolf, it’s Guinan who’s in practically every Steppenwolf production. Like Letts, this exceptional ensemble player lends such an amazing air of authenticity, including here, that you can practically smell him from your seat. No wonder Guinan has been Steppenwolf’s go-to-guy in recent years. He’s just that great.
In his first Steppenwolf role -- which is unlikely to be is last -- young Andrews goes toe-to-toe with Letts and Guinan. He delivers his own nuanced performance that’s a revelation.
While
American Buffalo is strictly a three-hander, another star of the production is Kevin Depinet’s ingenious scenic design, perfectly capturing Don’s junk dealer shop. And you have to give props to the prop master, for without those perfectly placed props, watching Letts’ second act meltdown certainly would not have had the same visceral punch. Letts doesn’t so much as chew the scenery as much as he begins to physically destroy some of it.
Regrettably, I have no idea how well-acted the recent Broadway revival of Mamet’s play was just two short years ago, missing it due to its premature closing. But after devouring every last, tasty morsel of Steppenwolf’s
American Buffalo with relish, it’s hard to imagine any other version being more satisfying.
This one is worth every pretty penny.
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: American Buffalo, Amy Morton, David Mamet, Francis Guinan, Patrick Andrews, Play, Revival, Steppenwolf, Tracy Letts
SOB's Theatrical Firsts Of The Noughties: My Steppenwolf Love AffairOver the course of the last decade, I’ve been truly fortunate to enjoy a never-ending number of enlightening firsts in my personal theatregoing. Each has only served to increase my deep and abiding love for the art form known as live theatre. What follows is one of my ten favorite experiences of the last ten years.While
Time magazine may have dubbed the Noughties as “
the decade from hell” with myriad reasons to support that claim, I’ll always remember the last ten years for my introduction to the two great loves of my life.
Aside from
The Love Of My Life, who has been my soul mate and partner in crime around the world for the last two-thirds of the decade, my other noteworthy love affair that continues to flourish is with a Chicago-based non-profit that has been providing me with nearly ten years of intellectual stimulation since I first laid eyes on its breathtaking work.
Back in 2001, prior to the horrific attacks of 9/11 that forever altered our outlook on life, I had the opportunity to take in an excellent revival of
One Flew Over The Cuckoo's Nest at Broadway’s then
Royale Theatre. The
Terry Kinney-helmed play had just won the Tony for Best Revival, so I was buzzing with anticipation. As only a budding theatre aficionado at that time, I was still unfamiliar with Chicago’s
Steppenwolf Theatre or its stellar reputation. But as the curtain fell on that show, I was already blown away by the likes of Steppenwolf co-founder
Gary Sinise as Randle P. McMurphy and ensemble member
Amy Morton as the notorious Nurse Ratched. With an indelible impression made, I wanted to know more about this theatre company. Steppenwolf was forever on my personal radar.
Fast forward to the summer of 2002 when one of my close friends from Australia was visiting the United States.
Paul Battye had a very limited itinerary, but one of the places on it was Chicago. Since I had pledged I’d meet up with him somewhere during the course of his trip, I decided that I’d make my way to the Windy City. Once there, I learned that near the top of his to-do list was taking in a production at Steppenwolf. While our other local friends passed on the opportunity, I said I was in.
He told me that the production currently playing was something called
Purple Heart. To be honest, I could have cared less what it was since I was excited I’d have a chance to see a Steppenwolf production on its own home turf. Little did I know that my captivation from seeing
Bruce Norris’ compelling play starring
Christopher Evan Welch,
Rosemary Prinz and
Laurie Metcalf would make a devoted personal involvement with Steppenwolf inevitable.
Less than three years later, I took a position with a major PR firm in Chicago, of all places (where, among other things, I learned about the increasingly vital role that blogging would play in mass media and a burgeoning social networking). Because another friend of mine was already involved in Steppenwolf’s
Auxiliary Council’s Board of Governors and recognized my deep-seated love for live theatre as well as my enormous respect for this Chicago institution, he asked if I had any interest in joining that group. I didn’t even hesitate in saying “yes.”
By the time I left Chicago barely a year later for other professional opportunities, I had become deeply immersed in the Steppenwolf culture. Talk about a tight knit organization. I had seen almost every show their three stages offered, and I had become acquainted with so many exceptional people behind the scenes that I simply could not let go. Icing on the cake was having one opportunity after another in meeting many of the exceptional array of ensemble actors.
Because moving away from Chicago presented its own challenges in my ability in providing a minimum level of commitment I believed necessary toward contributing as a solid member of the Board of Governors, I ultimately resigned from the body sometime in 2006, but pledged my support via the next best means: financially. I am proud to say I’m a member of Steppenwolf’s
Director’s Circle of donors. I believe so wholeheartedly in this extraordinary theatre company that I am pleased to lend it my financial support.
One of the benefits of being a Director’s Circle donor is that I regularly attend nearly all of the opening nights of Steppenwolf’s seasons. While I can’t say that I’ve seen each and every production with the same level of enjoyment, I profess that each has challenged me in profound ways I could never have anticipated.
Despite my ongoing support, I have not shied away from telling you how I really feel about productions I have reviewed in this space. However, it probably goes without saying that the majority of Steppenwolf’s productions have made me enormously proud to be counted as one of its supporters -- otherwise, why would I continue to support it?
Certainly the best of those productions I’ve seen is a little Pulitzer Prize and Tony Award-winning play you may have heard of:
August: Osage County. Due to an unfortunate scheduling conflict, I was unable to get back to Chicago for its opening night, but when I hit the Windy City just a couple weeks later and took in the production, I was simply blown away by its depth and breadth.
All my pride in Steppenwolf came gushing out in ways it never had before. I suddenly found myself championing a Broadway transfer for
Tracy Letts’ superb work. I even mentioned in my
SOB Review that this play deserved Pulitzer Prize buzz.
While I wasn’t able to get to the delayed
August: Osage County’s opening night on Broadway due to major upheavals in my professional life (which ultimately worked out for the best), I did manage to see the show
three times on the Great White Way. I also had the rare opportunity to personally cheer it on in live at the
2008 Tony Awards and afterwards at the show’s very own Tony party, and even finally saw
an opening night when most of the original cast transferred to London’s National Theatre a year ago last Thanksgiving.
Now, I’ve begun contemplating a journey Down Under for
this play’s mounting at the Sydney Theatre Company with many of its original cast, but in the meantime, I can’t wait to see it again next spring as it
tours the United States.
As for Steppenwolf itself, it’s been an honor and quite a thrill to continue supporting this vital organization and take in each new play that opens there. But to bring this post full circle, I have to thank Steppenwolf’s Director of Development Sandy Karuschak. You see, I recently regaled her on how it was love at first sight with Steppenwolf by taking in
One Flew Over The Cuckoos Nest. And you know what? Barely a week later, she graciously sent me an exquisite poster from the show autographed by the entire cast – a keepsake of my ongoing love affair that I’ll forever treasure.
So, I'll close out this first post of my decade's worth of personal firsts by saying, if you’ve never been to Steppenwolf in Chicago, you haven’t seen live theatre.
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 more than paid my own way for each of the performances outlined, although as noted above, the theatre was kind enough to recognize my love for it by sending me a poster. Eat your heart out, FTC.Labels: Amy Morton, August Osage County, Broadway, Bruce Norris, Chicago, Gary Sinise, Laurie Metcalf, One Flew Over The Cuckoos Nest, Purple Heart, Steppenwolf, Tracy Letts
SOB's Favorite Shows Of The Noughties: #24 - Superior Donuts (2008, Downstairs Theatre, Chicago, Illinois/2009, Music Box Theatre, New York, New York)
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. Tracy Letts' profoundly moving
Superior Donuts intelligently combats some urban myths about race. Thanks in large measure to
Tina Landau's loving direction and outstanding, memorable performances from a superb ensemble led by
Michael McKean and
Jon Michael Hill,
Superior Donuts feels genuine, gritty and real, right down to its climactic brawl.
Losing himself in a most unglamorous role, McKean anchored both the premiere production and its subsequent Great White Way outing with amazing humility. Hill provided one of the most memorable Broadway debuts in recent memory. With plenty of humanity and heart to be found deep inside of this thoughtful and entertaining play, I dare anyone not to be touched.
If you still haven't seen this show that closes January 3, 2010, it really is time to make the
Donuts.
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 each performance.Labels: Broadway, Chicago, Jon Michael Hill, Michael McKean, Play, SOB's Favorite Shows Of The Noughties, Steppenwolf, Superior Donuts, Tracy Letts
Superior!Lyricist
Fred Ebb once famously wrote about New York City, "If you can make it there, you'll make it anywhere."
A slightly different take may be that if you are parodied, then you've made it into the public consciousness.
If you look at it that way, it appears that
Superior Donuts has made it, thanks to
Southern Mothers' sweet send-up called "
The Superior." The video takes a bite out of
Tracy Letts, his
soon-to-be-closing play and Broadway itself.
Enjoy!
This is Steve On Broadway (SOB).
Labels: Southern Mothers, Superior, Superior Donuts, Tracy Letts
Leaving A Hole In My HeartRegular readers will know that few plays in recent years have moved me quite the way
Tracy Letts'
Superior Donuts managed to grab and take hold of me. In fact, I've been a fan ever since
first catching its
initial mounting at Chicago's
Steppenwolf a year ago last summer.
So it was with a heavy heart that
I first reported via Twitter on Wednesday that the show would be closing on January 3.
Earlier, tickets had been selling through March 28, but in recent weeks, this particular show wasn't exactly selling like hot cakes. Over the last two reported weeks,
Superior Donuts had been playing to less than 50% capacity. Like
Brighton Beach Memoirs, this is one excellent show deserving of a much larger audience than it was able to attract.
While
critics liked the show, many Broadway watchers say it suffered from not being the "must-see" even that playwright Letts'
August: Osage County had been just two years ago. "They" also say that in a season where star turns seem to make the difference (including the
arguably inferior one just across the street),
Superior Donuts had simply been overlooked.
I maintain that with outstanding and memorable performances from a superb ensemble (
Michael McKean,
Jon Michael Hill,
Kate Buddeke,
James Vincent Meredith,
Yasen Peyankov,
Jane Alderman,
Robert Maffia,
Cliff Chamberlain and
Michael Garvey), this remains the best play on Broadway. I love the show so much that I've already seen it twice on the Great White Way and had even planned to see it again in late January. So I was very saddened to learn that it would be closing.
If you haven't already had an opportunity to see it, do everything you can to get to the Music Box Theatre before
Superior Donuts closes. You will thank me.
This is Steve On Broadway (SOB).
Labels: Broadway, James Vincent Meredith, Jane Alderman, Jon Michael Hill, Kate Buddeke, Michael McKean, Play, Robert Maffia, Superior Donuts, Tracy Letts, Yasen Peyankov
My Five Cents On American BuffaloYesterday,
I took note of the regularity with which
David Mamet plays have been mounted on Broadway over the past five years. Add to that his upcoming
Race and you have a total of six shows, old and new, that will have been staged on the Main Stem during that time.
Easily the
least successful of the first five was the
2008 revival of
American Buffalo, which closed last November 24 after only eight regular performances. And it wasn't for lack of star power, either. With
Robert Falls at the helm, that "
deflated" incarnation featured
John Leguizamo,
Cedric the Entertainer and
Haley Joel Osment. Unfortunately for the production,
reviews ran from mixed to complete pans.
Without looking backwards, Chicago's
Steppenwolf is seeking to salvage this play's reputation by
returning it to the Windy City where it was
first produced 34 years ago by the venerable
Goodman Theatre.
Proving that she's really running things now is estimable actress, director and Steppenwolf Ensemble member
Amy Morton. While New York audiences may only know her for her dramatic chops, she's a force at the helm as well, as she demonstrated again just a year ago in directing Steppenwolf's acclaimed production of
Conor McPherson's
Dublin Carol.
Equally impressive is her cast, which includes
Tracy Letts and
Francis Guinan, along with an accomplished young actor named
Patrick Andrews.
This marks Tracy Letts' return to the boards after a two and a half year absence during which a little show called
August: Osage County rocked the theatre establishment and cemented his reputation as a powerful playwright. I would argue that to fully appreciate Letts, you must witness his astounding talent
on-stage as well as off. He's that good.
Then there's Fran Guinan, who is without a doubt,
one of the most gifted contemporary actors in Chicago or anywhere else. While Broadway audiences will fondly recall his Charlie Aiken as the only
August: Osage County character displaying any real heart, Chicago audiences have come to revere him for his breathtaking versatility in playing everyone from Colonel Sanders to Johnny Walker to Arthur Conan Doyle.
The enormous range and capabilities of the Morton/Letts/Guinan triumvirate are making this
American Buffalo the one show of the year I've been waiting for most. Something tells me that it will definitely be well worth the coin.
American Buffalo begins previews at Steppenwolf's Downstairs Theatre on December 3 and opens December 13. I'll be there for its opening and will have a full report shortly thereafter.
This is Steve On Broadway (SOB).
Labels: American Buffalo, Amy Morton, David Mamet, Francis Guinan, Steppenwolf, Tracy Letts
Superior Donuts (The SOB Review)– Music Box Theatre, New York, New York
**** (out of ****)
With nary an empty calorie in sight,
Tracy Letts' tasty and satisfying
Superior Donuts possesses a filling center that is at once enthralling and profoundly moving. Its shop sits precisely where the American dream -- and all its endless possibilities -- intersects with fears of America lost.
Despite a bit of a makeover from the initial Chicago premiere last year (which
I reviewed), including new set design from
James Schuette, the essential ingredients Letts has baked into this dramatic comedy are as sweet and savory as ever.
If anything,
Tina Landau's sharpened direction enables each of Letts' wide assortment of characters -- each of whom defy any tidy stereotype -- to rise to perfection. As you'd expect from Letts, none of them are wafer-thin, whether it's the sage bag Lady Boyle (
Jane Alderman), the rough-edged flirt in Officer Randy Osteen (
Kate Buddeke), the seriously serious beam-me-up-fetishist Officer James Hailey (
James Vincent Meredith) or the budding Russian tycoon with a soft spot Max Tarasov (
Yasen Peyankov). Each of these secondary roles, not to mention the leads, is multi-layered, adding exquisite depth to Letts' overarching effort.
Now make no mistake, if you’re going into Broadway’s
Music Box Theatre intent on seeing another
August: Osage County, you’re in the wrong place. No one backs Letts into a corner. That doesn't mean he's lost his penchant for fully realized characters. Sure,
Superior Donuts has plenty of his trademark ribald barbs, including a sly yet stinging commentary on the status of today’s America that is becoming his signature. Yes, Letts once again explores familial fissures that lead to a breaking point -- a point so bleak that once again one of his principals escapes via self-medication.
Yet in many more ways,
Superior Donuts is the antithesis of
August: Osage County. His latest work ostensibly leaves its audience with hope rather than despair, a challenge to wake up to the world around us rather than to shut it out. To give a damn and take a stand.
Set amidst an oxymoronically named doughnut and coffee shop in Chicago's timeworn Uptown neighborhood, Letts caffeinates his latest play with an abundance of jolts, literally and figuratively.
On the literal side, you’ll no doubt hear more than you’ll want to know about the show’s pivotal fight scene. Mind you, the contenders are both well past their prime.
In one corner is the nearly sixty year old Arthur Przybyszewski (a breathtaking, brilliant
Michael McKean), who has ducked from battles his entire life, whether dodging the Vietnam draft or his own late father who labeled him a coward because he went AWOL. There’s no reason to assume he’d even know how to throw a decent punch. Yet, the young, aspiring writer Franco Wicks (
Jon Michael Hill in one of the most astonishing Broadway debuts I've ever seen) has not only helped bring the doughnut shop back to life, but he's also awakened Arthur's soul enough to rejoin the human race and, consequently, to finally take a stand.
In the other corner is Luther Flynn (the aptly named
Robert Maffia), a middle-aged hood afflicted by a painful ulcer. As menacing as he'd like to be, he's almost as likely to ask for a drink of milk as he is to ask his minion to do his bidding. It’s no wonder he initially laughs off Arthur’s challenge to fight, perhaps thinking that if even one punch landed in his stomach, he’d be down for the count.
There’s an enormous ineptitude about this fight. It’s not at all in the way that it's staged, but very much in the gritty reality of what you’d expect from two such men. I posit that real fights don’t happen the way they do in movies.
Genuine brawls look an awful lot like the clumsy one in
Superior Donuts.
As for the figurative jolts, they are liberally scattered throughout. They're not so much like the tiny, inconsequential sprinkles that merely decorate a doughnut top, but more they're a much more richly satisfying food for thought, as well as for the soul.
Having evaded the draft 40 years earlier, Arthur has inadvertently been waging another, longer battle in both his mind and his heart. He wrestles the demons of never having had the opportunity to make peace with his now deceased father. Once he returned to the United States from Canada, Arthur essentially checked out, losing himself in his pot, even as he checked back into the business his father created. He doesn't even seem to notice or care when his shop has been broken into.
But he receives a major jolt when Franco Wicks walks into
Superior Donuts. Heavy on dreams and loaded with his foot-thick "Great American Novel," Franco triggers something in Arthur's heart and soul. With remarkable finesse, due in large part to the charming Hill's nuanced performance, Franco challenges him as few have, reawakening his spirit and making him care.
To witness Jon Michael Hill spar with Michael McKean is a theatrical joy to behold -- a pleasure that comes along on the stage all too infrequently. Of course, Letts' superb gift for delivering the goods via perfect-pitched dialogue comes through yet again, and fortunately, Hill and McKean powerfully imbue their roles with emotional honesty. There's nothing treacly about them or
Superior Donuts.
As I've said before, there's plenty of humanity and heart to be found deep inside of this intelligent and entertaining play. I absolutely love this courageous show and the fact it truly lives up to its name.
This is Steve On Broadway (SOB).
Labels: Broadway, Jon Michael Hill, Michael McKean, Play, Steppenwolf, Superior Donuts, The SOB Review, Tina Landau, Tracy Letts
Superior Donuts Broadway Opening NightLess than two years after
Tracy Letts earned
extraordinary praise for his first Broadway play
August: Osage County, along with just about every major honor he could possibly win, including the Pulitzer Prize and Tony Award, the playwright/actor's latest play opens tonight at the Main Stem's
Music Box Theatre.
Superior Donuts follows a similar path as Letts' earlier effort, having originally premiered at Chicago's
Steppenwolf Theatre. Directed by
Tina Landau,
Superior Donuts stars Broadway veteran
Michael McKean opposite
Jon Michael Hill. As
I've noted before, while Hill may be new to Broadway audiences, he already lays claim to a distinguished array of credits as Steppenwolf's youngest ensemble member.
Superior Donuts also stars
Robert Maffia,
James Vincent Meredith,
Yasen Peyankov,
Jane Alderman,
Kate Buddeke,
Cliff Chamberlain and
Michael Garvey.
Unlike
August: Osage County, which included the same scenic design on Broadway as it did at Steppenwolf,
Superior Donuts receives a "fresh" look -- a term I use with tongue firmly planted in cheek -- from
James Schuette.
Whether or not
Superior Donuts follows in the rest of its precursor's footsteps remains to be seen. While I certainly want to see it savored by the critics and public alike, it already has found a special place in my heart, as well as in the annals my very own theatregoing history.
One of the reasons why I'm such an ardent Steppenwolf supporter and fan is because they regularly produce exceptional plays that resonate with me, challenge me and make me think. Yes, there are the occasional shows that leave me a little cold, but the vast majority are incredibly well-crafted and almost all universally are exceptionally well-acted.
Superior Donuts is, in my humble opinion, one of the best of their best, as I noted in
my SOB Review after seeing it open in Chicago a year ago last summer. It's why I'm personally looking forward to attending its opening night this evening on Broadway -- a first for me. I'm hoping for a truly
Superior Broadway experience in every way.
This is Steve On Broadway (SOB).
Labels: August Osage County, Broadway, Jon Michael Hill, Michael McKean, Opening Night, Play, Superior Donuts, Tina Landau, Tracy Letts
8,999 Plus One Donut HoleTonight marks Broadway history as
Andrew Lloyd Webber's iconic
The Phantom Of The Opera celebrates its 9,000th performance on Broadway. The production opened at Rialto's
Majestic Theatre on January 26, 1988.
Even though I've seen
The Phantom Of The Opera twice (three times if I count
my 2007 visit to
Phantom - The Las Vegas Spectacular), I've never seen it on Broadway. Is that heresy?
I first saw what is now the Great White Way's longest running show in London in 1988, as well as during its 1998 Los Angeles run
when I was provided a free ticket.
As I've said before, I've never truly understood the lasting appeal of
The Phantom Of The Opera. Some have said that it has essentially become a tourist attraction, while I view it as the very first entry level Broadway or West End show for the tens of millions who have seen one incarnation or another.
So in order to say I saw the show before it hits that magic 9,000 number tonight, as well as to finally scratch the last Broadway theatre off my list of venues I've never visited, I'm taking in today's matinee, which happens to be its 8,999th performance.
And as
POTO fans gather for the evening's milestone performance, I'll be just a block away ... toasting the very
first preview of
Tracy Letts'
Superior Donuts. While this latest import from Chicago's
Steppenwolf most certainly won't go the distance of 9,000 performance, something tells me that it will be a whole lot more satisfying.
UPDATE (9.17.09): Imagine my surprise at yesterday's matinee for
The Phantom Of The Opera when it was announced immediately prior to the performance that this would mark the 9,000th record setting milestone. I had read elsewhere, earlier, that #9,000 would occur that same evening.
Immediately after yesterday's matinee, countless television cameras and still photographers filled the aisles to capture the celebration as Andrew Lloyd Webber,
Harold Prince and
Gillian Lynne all appeared on stage to join in the festivities, with each delivering remarks. For his part, Webber announced that the sequel,
Phantom: Love Never Dies will debut in London next spring and land on the Great White Way in November 2010.
Now that the dust has settled on yesterday's momentous occasion, I did some additional research.
According to the Internet Broadway Database (IBDB),
The Phantom Of The Opera had played 8,995 performances as of this last Sunday. Although the show is one of the few Broadway shows with a Monday performance, that one added to Tuesday's and the two on Wednesday only add up to 8,999, so my title of this piece is inaccurate as well.
Webber's
Really Useful Productions indicates that the actual 9,000th performance comes this evening, but for some reason, the powers that be decided to celebrate at Wednesday's matinee.
So even though I got the photo opp yesterday, if you're seeing
The Phantom Of The Opera at the Majestic on Thursday, September 17, you truly have the bragging rights to #9,000!
This is Steve On Broadway (SOB).
Labels: Andrew Lloyd Webber, Broadway, London, Los Angeles, Milestone, Musical, Play, Steppenwolf, Superior Donuts, The Phantom Of The Opera, Tracy Letts
Broadway, Meet Jon Michael HillTake a close look at the smiling face to the left. Examine it very carefully. Because this is the exciting face of tomorrow's Broadway.
Actor
Jon Michael Hill has been a
Steppenwolf ensemble member for a mere three years, but as one of the estimable troupe's youngest actors, he's quickly become one of its most awe-inspiring contemporary stars. And now, Jon Michael Hill is heading to the
Music Box Theatre for his Broadway debut. Watch out!
Earlier this afternoon, the full casting for Steppenwolf's Broadway transfer of
Tracy Letts'
Superior Donuts was announced. The best part of the announcement was that the entire Chicago cast, including Hill, will be reassembled under
Tina Landau's brilliant direction.
I first witnessed Hill's star on ascent three years ago this month when Steppenwolf world premiered
Bruce Norris' riveting and raucous four-star
The Unmentionables, directed by
Anna D. Shapiro and starring
Amy Morton. At the time,
I noted:
Even as the booming off-stage voice instructs the audience to silence their cell phones, a menacing, cocky young man named Etienne (Hill) saunters down the aisle looking as if he might not belong before finally calling out to the audience that they should not bother staying for this show. Of course, it's all a ruse, but it's clearly designed to set the stage for the play and challenge some pre-conceived notions about race and appearance even before the performance begins.
Nobody knew who this guy was as he toyed with the audience on his way to the stage. Hill ended up with them in the palm of his hand. No wonder that right around the same time, Steppenwolf announced that this gifted young actor was becoming part of its increasingly eclectic ensemble and summarily infused it with no-holds-barred excitement.
Next, Hill starred opposite
Michael McKean of
Superior Donuts last summer to tremendous effect. Giving the show four stars, I
was effusive with praise:
McKean has clearly lost himself in this most unglamorous of roles, but the audience wins as a result. Equally excellent is Hill's Franco, whose tremendous zest for living is infectious, and whose woes make us actually give a damn.
Since last summer, Steppenwolf fans have had two additional opportunities to see Hill further burnish his credentials with seemingly little effort in
Kafka on the Shore (2008) and earlier this year as he more than held his own alongside
Frank Galati and
Lois Smith in
The Tempest, another Landau-helmed triumph.
Now, with the transfer of
Superior Donuts, New Yorkers will get to know one of the Windy City's formerly best kept secrets. Now that the word is out that Jon Michael Hill is coming to Broadway, do yourself a favor and see him early to get those bragging rights for you'll be seeing a true star of tomorrow shine today.
This is Steve On Broadway (SOB).
Labels: Broadway, Jon Michael Hill, Kafka On The Shore, Steppenwolf, Superior Donuts, The Tempest, The Unmentionables, Tina Landau, Tracy Letts
More August Down Under With American Original
When
August: Osage County posted its closing notice for Broadway a couple weeks back, those prone to parsing statements may have noted
I concluded my wrap-up saying:
But something tells me that you haven't heard the last of the original cast of August: Osage County. And with that, I'll just say so long for now.
Now I can reveal what I had only hinted at.
According to the
Tuesday, July 7 issue of The Age:
The biggest-selling stage show so far this year, the Melbourne Theatre Company's production of hit August: Osage County will be staged in Sydney next year. But audiences will not get to see one of the grande dames of Australian theatre, Robyn Nevin, in one of her most defining roles.
Instead, the Sydney Theatre Company is importing the original production by Chicago's Steppenwolf Theatre Company that has appeared in New York and London. It will be presented in the 900-seat Sydney Theatre and follows on from the importation of Alan Bennett's The History Boys by London's National Theatre in 2006.
It was the Steppenwolf production that Tracy Letts' play that won five Tony Awards in New York.
So, now you know more about this ever-evolving story that began just over two years ago last month in Chicago.
Anyone game for going Down Under?
This is Steve On Broadway (SOB).
Labels: August Osage County, Australia, Chicago, First Word On New Show, Play, Sydney, Sydney Theatre Company, Tracy Letts
Agosto Em OsageCan't wait for the
North American tour of
August: Osage County to get your fix of
Tracy Letts' landmark play?
Well, you actually have a couple options, albeit expensive ones.
First, you get on a play bound for Melbourne, Australia, where the Westons and Aikens continue to hold court at the
Melbourne Theatre Company through July 4.
In addition to those who already told me that they so the production by the time
I posted my story on the opening, several additional Aussie friends have taken my recommendation to see the production and all have raved. They've said:
AWESOME advice...
We saw it last night and were both BLOWN AWAY! Thanks for the tip - Robyn Neven as Violet was MESMERISING!!!
and
Hey Steve.. Just LOVED August: Osage County. It was so electric. Just loved the pace and performances. Especially the Violet role played by our Dame of theatre Robyn Nevin. Have you ever heard of her - she is amazing.
It really was astounding - if I could see plays like that every time I went to the theatre - I would feel as if I was in Heaven!
OMG - cannot wait to see that play again... Amazing...
and
I saw August Osage County in Melbourne last night and I loved it. Easily the greatest night at the theatre I've had this year - if not, for years. It's superb. Robyn Nevin's performance as Violet is transformative and magnetic to watch.
If Australia is too far (these days, it's not nearly as expensive as it had been) and you can speak Portugese, you might consider visiting Lisbon. That's right. There is a
production playing right now at the Portugese capital's
Teatro Nacional D. Maria II!
Imagine my delight this morning in receiving an e-mail from one of my friends who landed in Lisbon (Lisboa) yesterday. He wrote:
It seems to me that August: Osage County is playing here in Lisbon - we took a picture of the poster for you
West Side Story is here as well - perhaps they will hire Swedes to play the Jets!
The production began June 25 and runs through August 2. The Teatro Nacional's Web site includes the
following description of the play (you've got to love this very rough translation from Portugese, a language I do not speak):
All the happy families are identical and all the unfortunate families the Saints to her way. When, in a night, in the rural environment of Oklahoma, the alcoholic patriarch disappears mysterious, the big clan of the Weston unites immediately for consolation of the mother and for will hurry the motive of the disappearance of the father. Seeing forced it confront hidden truths and surprising secrets, the family ends up be involved in an argument with the matriarch Violet, an addicted woman in pharmaceuticals and unstable psychological state, that is found in the environment of this stormy family.
Oh to be able to see how this show translates, quite literally.
This is Steve On Broadway (SOB).
Labels: August Osage County, Australia, Lisbon, Melbourne, Melbourne Theatre Company, Play, Portugal, Robyn Nevin, Touring Production, Tracy Letts
August: Osage County - And Then They're GoneCall it a day of theatrical symmetry.
Exactly two years to the day after Chicago's
Steppenwolf Theatre premiered
Tracy Letts' Pulitzer Prize and Tony Award-winning
August: Osage County at its Downstairs Theatre, the show closed at the
Music Box Theatre. Directed by
Anna D. Shapiro, the play enjoyed 648 performances on Broadway.
My dear friend Kevin Daly at
Theatre Aficianado At Large was there for the closing performance, which had its own surprise before it even began. Kevin looked at the board next to the ticket counter and saw that
Rondi Reed was back for the final performance. It wasn't long before he was
tweeting about it to let the whole world know.
Meanwhile, back at Steppenwolf's Downstairs Theatre last evening,
Bridget Carpenter's
Up was enjoying its opening night. This is the latest play to be helmed by Shapiro and it features her husband
Ian Barford (the original Little Charles from
August: Osage County) in the lead. Other noteworthy alums from
August: Osage County were on hand, including Tony winner
Deanna Dunagan (the original Violet Weston) and
Francis Guinan (the original Charlie Aiken). Both were clearly thrilled to hear that Reed had returned for that final performance. Guinan will return to the Steppenwolf stage in
Fake beginning in September.
While dignitaries like
Illinois Governor Pat Quinn were on hand to witness the troupe's latest treasure, the symmetry of Steppenwolf's sweet serendipitous Sunday in New York and Chicago rounded out with actor
Jon Michael Hill of Lett's
Superior Donuts being in the Windy City house. While I can't say whether he'll be part of the transfer to Broadway this fall, I expect great things from this incredible young talent and believe Great White Way audiences will celebrate his name sometime soon.
And once again thanks to Steppenwolf, I'll have bragging rights not unlike those when I was among the first to see
August: Osage County nearly two years ago.
This is Steve On Broadway (SOB).
Labels: Anna D Shapiro, August Osage County, Broadway, Chicago, Deanna Dunagan, Francis Guinan, Ian Barford, Jon Michael Hill, Rondi Reed, Steppenwolf, Superior Donuts, Tracy Letts, Up
Down For The County, August House Empties OutExactly two years to the day after its Pulitzer Prize and Tony Award winning ride began on the Downstairs Stage at Chicago's
Steppenwolf Theatre,
Tracy Letts'
August: Osage County will close at the
Music Box Theatre, its second Broadway home.
Back on
June 28, 2007, Letts' sprawling, searing masterpiece began previews at its original Windy City home with a sizeable cross-section of talent from the company's estimable ensemble. As an enthusiastic and proud Steppenwolf supporter, I was disappointed to miss the original opening night in July of that year. But after seeing it one August night, I was enthralled as I found myself completely sucked in on one side and blown out the other.
Mind you, I'm blown away more often than not when I attend Steppenwolf's carefully selected plays. It's one of the reasons why I have become such an ardent supporter and fan. But the feeling I had after seeing
August: Osage County the first time was something way beyond anything I typically experience. I knew I was witnessing something truly extraordinary and rare in the annals of theatre history.
Of course, by the time I saw it, word had already reached New York and beyond. In my initial review, I summed up by stating:
I've already heard rumor that this Steppenwolf world premiere play is already being touted for consideration by the Pulitzer Prize committee and that a Broadway transfer may be a real possibility. However, my strong recommendation is to do everything you can to see this modern-day, sure-to-be classic with its impeccable current cast.
Little did I realize then that nearly everyone from that original Chicago cast would make their way to New York for the initial Broadway run, which began previews on October 30, 2007. Nor did I realize quite the way they'd take New York by storm, conquering the hearts and minds of theatregoers who hungered for something exciting and new. It mattered little that the running time was nearly three and a half hours because as one of my favorite Steppenwolf friends once told me before I ever saw the work, "This is the fastest three and a half hours you'll ever spend inside a theatre."
Plans for
August: Osage County's opening night were scuttled thanks to the stagehands strike in the fall of 2007 (yours truly had been thrilled to be invited to attend as it was to be my first opening night of any Broadway show). Shortly after the strike was settled, opening night performances for a slew of shows was hastily arranged, and just my luck, my work prevented me from attended the rescheduled opening on December 4, 2007, for
August. Nevertheless, the play never got lost in the shuffle as it opened to
rave reviews.
By now, you know that the accolades didn't stop there. On
April 7, 2008, Tracy Letts was honored with a Pulitzer Prize for Drama. Nominations for all the major theatrical awards came shortly thereafter with the Tonys providing the cherry on top. On
June 15, 2008,
August: Osage County won five Tony Awards for Best Play, Best Actress in a Play (
Deanna Dunagan for her bravura performance as Violet Weston), Best Director (
Anna D. Shapiro), Best Featured Actress in a Play (
Rondi Reed for her stellar turn as Aunt Mattie Fae Aiken) and Best Scenic Design (
Todd Rosenthal).
I managed to see
August: Osage County three times during its Broadway run --
once at the
Imperial Theatre with everyone from the original Main Stem cast except, sadly,
Dennis Letts, the playwright's father who was nearing the end of his valiant battle with cancer, and twice at the
Music Box, which provided a much more intimate experience for taking in this larger than life drama.
Third time, by the way, was the charm when it came to my attending opening nights. It was a complete joy to be in
London last November when most of the cast reassembled for the opening of
August: Osage County at the National Theatre.
So while I'm a little melancholy today that the play is closing, it's hard to feel too sad when you consider that it's doing so after 648 remarkable performances -- longer than any other current play on Broadway and the longest run for a play since
David Auburn's Pulitzer Prize/Tony-winning
Proof enjoyed 917 performances from 2000-2003. It's been an amazing run. I continue to marvel how this work has reconfirmed the theatre world's interest in Steppenwolf and made a star out of Tracy Letts' breathtaking writing.
As one door closes, certainly another one opens. As
noted in January, the North American tour of
August: Osage County kicks off next month on July 24 in Denver at the lovely
Ellie Caulkins Opera House before going on to San Francisco, Los Angeles, Portland, Seattle, Toronto, Hartford, Washington DC, Tempe and Dallas, among many other cities. For a production that originally clicked its heels with a tagline, "There’s No Place Like Home," the tour will really come home to roost when it lands in Oklahoma on January 26, 2010 at the
Tulsa PAC - Chapman Music Hall.
Another door that will soon open is for Tracy Letts' latest play
, Superior Donuts.
I loved this surprisingly tender show when I saw it last summer at Steppenwolf and understand that Letts has been reworking the script and preparing it for its October 1 opening on Broadway.
Perhaps the biggest door of all to open may in fact be for the silver screen incarnation of
August: Osage County film. It
was confirmed last August that the work would be transformed into a feature film. You have to bet that Hollywood's hottest actors are vying for the opportunity to try on the Weston Family for size.
But something tells me that you haven't heard the last of the original cast of
August: Osage County. And with that, I'll just say so long for now.
This is Steve On Broadway (SOB).
Labels: Anna D Shapiro, August Osage County, Chicago, Closing Notices, Deanna Dunagan, Film, London, Play, Rondi Reed, Steppenwolf, Superior Donuts, Todd Rosenthal, Touring Production, Tracy Letts
August In AustraliaThis evening marks the opening night for the Australian premiere engagement of
Tracy Letts' Pulitzer Prize and Tony Award-winning
August: Osage County at the
Melbourne Theatre Company.
It's also the first time the play has been produced beyond the reach of the
Steppenwolf ensemble members, including
Anna D. Shapiro, who directed the show in Chicago, New York and London. Instead,
Simon Phillips takes the helm of a cast that includes
Robyn Nevin as Violet Weston,
Jane Menelaus as Barbara Fordham,
Deidre Rubenstein as Mattie Fae Aiken, Rebekah Stone as Ivy Weston,
Heidi Arena as Karen Weston and
Roger Oakley as Charlie Aiken.
For those of you who were fortunate enough to see
Cate Blanchett in the excellent 2005
Brooklyn Academy of Music mounting of
Hedda Gabler, you'll recall that Nevin was the director of that fine revival.
Steve On Broadway's eyes and ears on the ground in Melbourne have already told me:
What a fantastic play!
I can see why it would resonate so strongly with an American audience -- it resonated pretty strongly here as well -- audible gasps, cheers, laughter to dead silence. But what fantastic writing. Gifts to the actors -- beautifully drawn characters, etc., etc., etc., etc. (insert rave here).
So hooray for good theatre -- long may it reign! And replenish our souls!
My source also tells me that Robyn Nevin, who is also among Australia's favorite character actors, is marvelous and can "make the audience turn on a dime."
Another friend in Melbourne tells me:
EVERYONE is talking about Osage County!
I only wish I could be there, but I'm certainly letting all my other friends in Melbourne know that they should not miss this play.
This is Steve On Broadway (SOB).
Labels: August Osage County, Australia, Deidre Rubenstein, Heidi Arena, Jane Menelaus, Melbourne, Melbourne Theatre Company, Opening Night, Play, Robyn Nevin, Roger Oakley, Simon Phillips, Tracy Letts
