When I took in David Lindsay-Abaire's solidly-crafted Rabbit Hole when it played on Broadway back in 2006, I thought it merely OK. It was poignant to be sure, especially with uniformly good performances, yet I didn’t think it rose to any great heights, nor did I think it deserving of its Pulitzer Prize win.
Of course, never mind what I think. Especially now that that John Cameron Mitchell has directed the big screen adaptation by Lindsay-Abaire. The film, set for a limited release on December 17 in time for Oscar consideration, will star Nicole Kidman as Cynthia opposite Aaron Eckhart as Howie -- grieving parents mourning the loss of their son (the roles were played on Broadway by Cynthia Nixon and John Slattery, with Nixon earning a Tony).
But after viewing this trailer for the movie, I found myself strangely moved in ways I didn't feel four years ago. Interesting that the clip barely even hints at the film's very title. Take a look and let me know what you think.
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.
It captures the spirit of the show in one fell swoop. I've been consistently and thoroughly impressed with the production's Website, poster and social networking skills on Facebook and Twitter. They clearly know what they're doing.
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.
Tomorrow evening (October 7), Alfred Uhry's Pulitzer Prize-winning play Driving Miss Daisyfinally makes its Broadway debut after first premiering Off-Broadway 23 years ago.
With David Esbjornson behind the wheel to steer the play, this production has already become a very hot ticket because of its three top-drawer, Tony-winning actors. Vanessa Redgrave will portray Daisy Werthan, James Earl Jones plays her chauffeur and friend Hoke Colburn and Boyd Gaines returns to Broadway as Daisy's son Boolie, who insists his mother's car keys be taken away.
A timeless American play, which inspired the beloved Academy Award-winning film, Driving Miss Daisy tells the affecting story of the decades-long relationship between a stubborn Southern matriarch and her compassionate chauffeur. Their iconic tale of pride, changing times and the transformative power of friendship has warmed the hearts of millions, and is being performed for the first time on a Broadway stage.
Before I ever saw that Oscar-winning film, I caught Driving Miss Daisy on a West End stage in 1988. I was fortunate to see the late Dame Wendy Hiller and a young Clarke Peters in the two primary roles. It didn't matter that the set design was incredibly spare because the two of them were simply magnificent. It remains one of the most memorable nights I've ever enjoyed at the theatre.
Previews for this new "strictly limited engagement" begin October 7 at the John Golden Theatre. The show opens October 25 and is only slated to run through January 29, 2011.
To see this trio of stage greats demonstrate their acting prowess, is it any wonder that many performances are already selling out?
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.
Never underestimate the power of reliving your childhood -- or early adulthood for that matter.
The upcoming Broadway production of is clearly awakening and energizing Paul Reubens' legions of long dormant, yet ever-adoring fans. As my current SOB Poll indicates, there's an outpouring of support for his beloved Pee-wee Herman personality. It's quite possible that Reubens' Great White Way debut will attract audiences that have never before seen a Broadway show.
Now, today's secret word (or is that weapon?) is: commercial.
A short and simple new ad has been unveiled for The Pee-Wee Herman Show. As a fan of the 80s television program, I'm thrilled to see that this glimpse into the stage show looks consistent with what captured our attention and admiration over a generation ago. Heh-heh!
Previews for The Pee-Wee Herman Show start October 26 at the newly renamed Stephen Sondheim Theatre. Opening on November 11, the very limited engagement closes on January 2, 2011.
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.
After a solid run in London that concluded earlier this month, the revival began previews at Broadway's Music Box Theatre just last week (September 23) and opens October 14 for a limited run through February 13, 2011.
Since I've already provided a snapshot of the play here, I'll simply leave you with the brand, spanking new trailer above, appropriately attached in part to a London taxi cab.
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.
Since the preview for the Chicago-based play only hints at the subject matter, here's the theatre's online description:
In 1959 Russ and Bev are selling their desirable two-bed at a knock-down price. This enables the first Black family to move into the neighbourhood, creating ripples of discontent amongst the cosy white urbanites of Clybourne Park. In 2009, the same property is being bought by Lindsey and Steve whose plans to raze the house and start again is met with a similar response. Are the issues festering beneath the floorboards actually the same fifty years on?
Bruce Norris’ (The Pain And The Itch) satirical new play explores the fault line between race and property.
Regular readers will know that it was Norris' excellent Purple HeartwithLaurie Metcalfthat forever won me over to the cutting-edge charms of Chicago's Steppenwolf Theatre, which ironically (I'm sure) is just a stone's throw from Clybourne Avenue. Additionally, it was Norris' biting The Pain And The Itch that first exposed me to fierce acting talents offered by Steppenwolf's exceptional ensemble members Tracy Letts, Kate Arrington, Mariann Mayberry and James Vincent Meredith. Tony-winning director Anna D. Shapiro helmed both of those works, as well as the recent Steppenwolf premiere of Norris' very latest, A Parallelogram.
Clybourne Park has already received a flat-out rave from the West End Whingers. I'll be curious to hear from my other friends in London how they received Clybourne Park, which to date, has been mounted at Off-Broadway's Playwrights Horizons, but not yet on Broadway or at Steppenwolf.
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.
Rain: A Tribute To The Beatles Limited run extended through May 31, 2011 (Show will go on hiatus starting January 15 and reopen at Brooks Atkinson Theatre on February 8)
Rock Of Ages - Open-ended run (Show will go on hiatus starting January 9 and reopen at Helen Hayes Theatre in March)
As someone who has been involved in both politics and public relations, it's no wonder I love watching theatre. Good or bad, it's the raw energy of seeing a live performance that gets my adrenaline pumping. From the moment I saw my very first Broadway show ("Annie" in London in 1979), I was hooked. Now I see as many as 70 shows each year ranging from soaring musicals to two-hander plays. And these eyes just may be in an audience near you!
