As Steppenwolf Ensemble Grows, Effort To Reflect Face Of Chicago ShowsLast year, the Chicago edition of
Time Out thoroughly examined how inclusive the city’s theatre companies were by measuring the number of ensemble roles for actors of color. As one of Chicago’s premier theatrical institutions,
Steppenwolf naturally found itself under the microscope. Although its renowned acting ensemble was 35 strong, there was but one actor of color (the versatile
K. Todd Freeman) to be found.
While it’s easy to look strictly at the number of ensemble members, as
Time Out did, an equally important measure of how inclusive a theatre company is should be the types of plays it performs. Several of my favorite productions over the past couple years --
The Unmentionables,
Master Harold And The Boys,
The Sunset Limited,
Sonia Flew and
The Pain And The Itch -- worked so well because they not only focused squarely on race or ethnic identities, but they provided an array of breathtaking performances by many actors of color.
With the exception of Arenas, I’ve had an opportunity to see each of these tremendously gifted actors tread the boards of Steppenwolf’s Downstairs Theatre over the past couple years. And from what I’ve heard about Arenas’ performances in
The Bluest Eye and
The Sparrow Project, both of which I regretfully missed, she -- along with her new ensemble colleagues -- adds tremendously to the evolving face that is Steppenwolf. Clearly, these six actors are now part of the ensemble, not because Steppenwolf has some quota to fill, but because they’ve earned their place in it.
I applaud the announcement that dovetails exceptionally well with the company’s stated mission:
Committed to the principle of ensemble performance through the collaboration of a company of actors, directors and playwrights, Steppenwolf Theatre Company’s mission is to advance the vitality and diversity of American theater by nurturing artists, encouraging repeatable creative relationships and contributing new works to the national canon. The company, formed in 1976 by a collective of actors, is dedicated to perpetuating an ethic of mutual respect and the development of artists through on-going group work. Steppenwolf has grown into an internationally renowned company of forty-one artists whose talents include acting, directing, playwriting, filmmaking and textual adaptation.
Indeed, Steppenwolf has stunningly transformed itself from its auspicious beginnings in a church basement when three white buddies --
Terry Kinney, Jeff Perry and
Gary Sinese, all formidable talents in their own right -- founded the company that was just born to be wild. I salute the men and women of today’s Steppenwolf for ensuring that this prize theatre continues to reflect its hometown community by welcoming every potential audience member in Chicago.
This is Steve On Broadway (SOB).
Labels: Chicago, Ensembles, Steppenwolf
Not Cirque Du Soleil: Cirque Dreams Opens On BroadwayWell, I'll be a monkey foot manipulator percushroomist!
Those and other wild characters springing from the imagination of impresario
Neil Goldberg will be on full display as
Cirque Dreams: Jungle Fantasy opens at the Great White Way's
Broadway Theatre.
It should be noted that this show
is not in any way associated with the world-renowned Cirque du Soleil.
The limited engagement opening tonight is scheduled to run through August 24 before heading out on a tour of Canada and the United States.
Choreographed by
Tara Jeanne Vallee,
Cirque Dreams: Jungle Fantasy boasts a company of 25 acrobats, aerialists, contortionists, jugglers and musicians. The cast includes
Uranmandakh Amarsanaa (Contorting Lizard and Aerial Bird),
Marcello Balestracci (Adventurer),
Jared Burnett (Soultree Violinist),
Zachary Carroll (Jungleboy),
Jill Diane (Mother Nature),
Lauren Diblasi (Bee and Ensemble),
Iryna Dmytruk (Bee and Ensemble),
Ruslan Dmytruk (Frog Juggler),
Ivan Dotsenko (Trapeze Owl),
Vladimir Dovgan (Balancing Giraffe and Snake Roller),
Nataliya Egorova (Monkey Foot Manipulator),
Judah Frank (Unicorn and Ensemble),
Buyankhishig Ganbaatar (Aerial Bird and Contorting Lizard),
Erdenesuvd Ganbaatar (Aerial Bird and Contorting Lizard),
Stefka Iordanova (Blackbird Hairialist),
Denys Kucher (Vine Swinger),
Vitalii Lykov (Vine Swinger),
Lee Miller (Percushroomist),
Odgerel Oyunbaatar (Contorting Lizard and Aerial Bird),
Sergey Parshin (Butterflyer and Jungle King),
Pavel Pozdnyakov (Jungle King and Ensemble),
Glenn Rogers (Jungleboy),
Naomi Sampson (Butterflyer and Ensemble),
Konstantin Serov (Emu and Ensemble),
Carly Sheridan (Trapeze Owl),
Serguei Slavski (Jungle King and Monkey Manipulator),
Alexander Tolstikov (Jungle King and Monkey Manipulator) and
Anatoliy Yeniy (Balancing Giraffe).
Will critics proclaim this a production fulfilling their wildest dreams, or will their reviews be downright nightmarish? Find out tomorrow as I provide my critics' capsule.
This is Steve On Broadway (SOB).
Click here for tickets.Related Stories:Broadway: What's Next (June 20, 2008)
Labels: Cirque Dreams Jungle Fantasy, Cirque du Soleil, Cirque Productions, Opening Night, Special Theatrical Event
SOB’s Best Of 2008-09: Top Ten Of The YearOver the past week, I've offered up my "Best Of" lists for four of the five major stage categories observed by the Tony Awards, including
Best Musical Revivals,
Best Play Revivals,
Best New Musicals and
Best New Plays.
Now, before I launch into which Broadway shows would get my Tony vote if
I could
actually vote and my own prognostications on who will win, here’s how the
best of the best rank in my personal countdown of the “10 Best” theatrical productions I saw over the course of the 2008-09 Theatrical Season:
10 - 9 To 5 Venue: Marquis Theatre, New York, New York
Top 10 Worthiness: 9 To 5 wins by being so thoroughly and consistently entertaining. Not only exceedingly fun and funny, but
Dolly Parton has delivered one of this season's most melodic scores, with plenty of tunes to keep you humming long after departing the theatre. You'd be hard pressed not to revel in
9 To 5's frivolity.
Exceptional Standout Performances: Allison Janney,
Stephanie J. Block and
Megan Hilty, as well as
Marc Kudisch and
Kathy Fitzgerald.
Status: Open-ended run.
SOB Review Rating: ***1/2 (out of ****)
9 - The Cripple Of InishmaanVenue: Linda Gross Theater, Atlantic Theater Company, New York, New York
Top 10 Worthiness: Martin McDonagh's
The Cripple Of Inishmaan crackled with wit and pathos. With frequent McDonagh collaborator
Garry Hynes at the helm, the playwright intrigues with his surprising compassion for humanity.
Exceptional Standout Performances: Excellent ensemble, but special nods to
Aaron Monaghan and
David Pearce.
Status: Closed after enjoying extended limited run.
SOB Review Rating: ***1/2 (out of ***)
8 - next to normal Venue: Booth Theatre, New York, New York
Top 10 Worthiness: With a fierce, electrifying direction from
Michael Greif,
Brian Yorkey and
Tom Kitt’s
next to normal is nothing if not atypical for Great White Way musical fare. But in tackling mental illness and its continued social stigma head-on,
next to normal marks a welcome if downright shocking departure for Broadway.
Exceptional Standout Performances: Alice Ripley,
J. Robert Spencer,
Aaron Tveit and
Jennifer Damiano.
Status: Open-ended run.
SOB Review Rating: ***1/2 (out of ****)
7 - The VisitVenue: Max Theatre, Signature, Arlington, Virginia
Top 10 Worthiness: John Kander and the late
Fred Ebb's spellbinding "new" musical
The Visit read like a who's who of the stage, including
Terrence McNally with his shrewdly clever book,
Ann Reinking for her captivating choreography and fine direction from
Frank Galati. Kander & Ebb's score proved a formidible co-star.
Exceptional Standout Performances: Chita Rivera,
George Hearn,
Jeremy Webb,
Mark Jacoby and
James Harms.
Status: Closed last summer after limited run. Initially rumored to be New York-bound, but economy seems to have placed those plans on hold.
SOB Review Rating: ***1/2 (out of ****)
6 - Speed-The-PlowVenue: Ethel Barrymore Theatre, New York, New York
Top 10 Worthiness: When
David Mamet's good, he's just about as stimulating and entertaining as any playwright can be. He's the real deal. In
Neil Pepe's astounding and absorbing revival of Mamet's gutbusting
Speed-The-Plow, this is almost as good as it gets.
Exceptional Standout Performance: Raúl Esparza.
Status: Closed after a tumultuous limited run in which star who shall not be named left show to become "a thermometer."
SOB Review Rating: ***1/2 (out of ****)
5 - IvanovVenue: Wyndham's Theatre, London, United Kingdom
Top 10 Worthiness: Michael Grandage's West End revival of
Anton Chekhov's
Ivanov was so vibrant and alive with pleasure, brimming with dark humor throughout, that I found myself completely rapt with attention. With excellent new adaptation from
Tom Stoppard,
Ivanov was both entertaining and enlightening, soaring with one of the year's best ensembles on either side of the Atlantic.
Exceptional Standout Performances: Excellent ensemble led by
Kenneth Branagh and
Gina McKee.
Status: Closed after limited London run. I'm hoping beyond hope that a transfer may be in the works to Broadway, but it may merely be a pipe dream.
SOB Review Rating: **** (out of ****)
4 - Superior DonutsVenue: Downstairs Theatre, Steppenwolf, Chicago, Illinois
Top 10 Worthiness: Tracy Letts' profoundly moving new play
Superior Donuts intelligently combats some urban myths about race and feels genuine, gritty and real, right down to its climactic brawl. There's plenty of humanity and heart to be found deep inside of this thoughtful and entertaining play.
Exceptional Standout Performances: Excellent ensemble led by
Michael McKean and
Jon Michael Hill.
Status: Initial world premiere run at
Steppenwolf closed last summer, but the show has been
confirmed for a Broadway bow this fall.
SOB Review Rating: **** (out of ****)
3 - A Little Night MusicVenue: Menier Chocolate Factory, London, United Kingdom
Top 10 Worthiness: There's pure heaven found in
Trevor Nunn's gorgeous London revival of
A Little Night Music. It enveloped every one of my senses like a welcome salve for these troubled times. Transcending all expectations, only a heart of stone could not be moved by
Stephen Sondheim's ravishing score and
Hugh Wheeler's über-clever book.
Exceptional Standout Performances: Hannah Waddingham,
Maureen Lipman and
Gabriel Vick.
Status: Currently enjoying a transferred run in London's West End. Rumored to be heading to Broadway later this year.
SOB Review Rating: **** (out of ****)
2 - Our TownVenue: Barrow Street Theatre, New York, New York
Top 10 Worthiness: Thornton Wilder’s classic stage drama
Our Town has never looked better. Stripped down to its bare essentials by director
David Cromer, it's hard to imagine live theatre could get anymore intimate than this. Making the case against living in the past, this mind-blowing production simply can’t be missed.
Status: Limited run scheduled through September 27, 2009.
SOB Review Rating: **** (out of ****)
1 - The Norman ConquestsVenue: The Circle in the Square Theatre, New York, New York
Top 10 Worthiness: Alan Ayckbourn's uproariously hilarious
The Norman Conquests cuts with remarkable, exacting precision, but it also slices and dices its six fully-rounded characters in this jujitsu of love.
Matthew Warchus' brilliant direction of each installment makes each story accessible and comprehensible in its own right. Yet it's only after seeing all three that all the complex pieces truly come together as an unequivocal masterpiece. This is the best show I've seen all year
anywhere.
Exceptional Standout Performances: The entire ensemble:
Amelia Bullmore,
Jessica Hynes,
Stephen Mangan,
Ben Miles,
Paul Ritter and
Amanda Root.
Status: Limited run through July 25, 2009, but don't be surprised if this is extended by popular demand.
SOB Review Rating: **** (out of ****)
What shows would be on your top ten list? Do you think I've completely missed the boat, or would your choices largely mirror mine?
I invite you to join the discussion and post your comments here.
This is Steve On Broadway (SOB).
Labels: 9 To 5, A Little Night Music, Ivanov, Next To Normal, Our Town, SOB's Best of 2008-09, Speed-The-Plow, Superior Donuts, The Cripple Of Inishmaan, The Norman Conquests, The Visit
SOB's Best Of 2009-10: Best Play RevivalsDuring the 2009-10 Theatrical Season, I've had the opportunity to see over 80 performances of a wide range of new and revived musicals and plays, as well as other theatrical events.
Unlike this past year's selection of musicals, the plays were once again "the thing." That included a terrific array of play revivals on Broadway as well as other venues near and far.
So, without further ado, here is my list of the "5 Best Play Revivals" over the 12 months ending April 30, 2010:
5 - American Buffalo (Downstairs Theatre, Steppenwolf, Chicago, Illinois)
Director
Amy Morton’s retro-cool revival of
David Mamet's
American Buffalo was a veritable feast for the senses. This
Steppenwolf production succeeded in spades.
Steppenwolf ensemble members
Francis Guinan as Don and
Tracy Letts as Teach were both in prime (and even primal) form. Even while practically chewing the scenery, Letts found all the subtle shadings of this most shady character while Guinan offered such an amazing air of authenticity that you could practically smell him from your seat.
4 - A Streetcar Named Desire (Harvey Theatre, Brooklyn Academy Of Music, Brooklyn, New York)
The hottest ticket in New York last year was actually over in Brooklyn. And with good reason. Director (and onetime actress)
Liv Ullmann mounted a crackling revival of
Tennessee Williams'
A Streetcar Named Desire. By that, I mean one that expertly found each of the fissures and cracks in Blanche DuBois, arguably Williams' most artfully drawn character.
The revival became a must-see event not only because it starred the magnificent
Cate Blanchett, but also because it so forthrightly showcased this classic work for what it is -- one of the best plays ever written. As Blanche DuBois, the superbly luminescent Blanchett offered a remarkably balanced portrayal that evenly teetered from one extreme to the other. Unafraid to embrace Blanche's sensually needy side, Blanchett demonstrated that there was still plenty of rouge left in this faded rose, even amidst the thorns that were so painfully evoked.
3 - Fences (Cort Theatre, New York City, New York)
It may be
Denzel Washington's name above the title in
Kenny Leon's exceptional, if exhausting, revival of
August Wilson's monumental
Fences. Yet it's
Viola Davis' name you'll be praising long after exiting Broadway's
Cort Theatre. Make no mistake, Washington excels in delivering a solid line drive as Troy Maxson, a former Negro League baseball player with a wandering eye.
But as Troy's wife Rose, Viola Davis hits this one out of the park with the most extraordinary, heartwrenching performance of the year. It's a grand slam, even in a play that feels like it's never going to end. It's a credit to Leon and Davis that we almost don't want it to.
2 -Brighton Beach Memoirs (Nederlander Theatre, New York City, New York)
I wasn't prepared to be this astonished. Nothing could have prepared me for the earnest and devastating charms found in
Neil Simon's superb
Brighton Beach Memoirs. This semi-autobiographical period piece received an excellent (though sadly short-lived) Broadway revival, flawlessly executed by director
David Cromer. Through
Brighton Beach Memoirs, Cromer further burnished his credentials as a brilliant, visionary master at breathing vigorous new life into classic material.
An exuberant
Noah Robbins made an impressive Broadway debut as Eugene Jerome, Simon's young alter-ego. With winsome appeal, Robbins captivated and enthralled. And as outstanding as he and the rest of the ensemble were,
Laurie Metcalf was an unmitigated, complete triumph as Eugene's mother Kate. Without ever overshadowing the rest of the cast, Metcalf delivered one of the year's most withering, nuanced performances. Simply put, Metcalf was amazing in this outstanding revival.
1 - Twelfth Night (Delacorte Theatre, Central Park, New York City, New York)
Love was in the air, and that breeze blowing straight through Central Park was
William Shakespeare's
Twelfth Night.
Daniel Sullivan’s lovely, gorgeous revival was brimming with bawdy charms and an extraordinary ensemble, including
Raúl Esparza as Orsino,
Audra MacDonald as Olivia,
Julie White as her attendant,
Michael Cumpsty as Malvolio and that consummate scene-stealer
David Pittu as Feste.
Was it any wonder that rain or shine, this was a formidable mounting with which to be reckoned and revered? Add to that mix film actress
Anne Hathaway’s mesmerizing turn as Viola, and those lucky enough to get tickets witnessed a wondrous new theatre queen being born. I walked out of Central Park both enthralled and enchanted.
So what were the best new revivals of plays
you saw over the past year? I invite you to join the conversation by sharing your theatre experiences with me.
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: A Streetcar Named Desire, American Buffalo, Best Revival of Plays, Brighton Beach Memoirs, Fences, Play, SOB's Best of 2009-10, Twelfth Night
August: Coming To A County Near YouIt's
official!
Tracy Letts'
August: Osage County is set to tour beginning just a little over one year from now.
The first stop for the tour will be at San Francisco's
Curran Theatre, beginning -- appropriately enough -- in August 2009 (August 11, to be precise). Other tour stops will be announced soon.
While the touring cast of
August: Osage County has yet to be announced, many key cast changes are set to occur on Broadway after Sunday afternoon's matinee performance, which dovetails with the 2008 Tony Awards. The show, of course, is the overwhelming favorite to win "Best Play," and as
I've stated previously, there are likely to be other key award winners from the production including, I hope, a couple key folks set to depart.
Chief among them are the amazing
Deanna Dunagan and
Rondi Reed, who portray sisters Violet Weston and Mattie Fae Aiken, respectively. Don't be surprised to see either of these outstanding actresses taking Tonys home with them to Chicago come Sunday -- just don't expect to see them in the show come Tuesday. June 17 marks the first performance in which Dunagan will be succeeded by Academy Award winner
Estelle Parsons, while Reed will be replaced by Steppenwolf ensemble member
Molly Regan, who most recently was appearing in the Chicago troupe's production of
Dead Man's Cell Phone.
Regan last appeared in the 1992 Broadway revival of
The Crucible. If you're not familiar with Regan, I can tell you that she was "
wonderfully sardonic" in
Dead Man's Cell Phone, and
I adored her in Steppenwolf's 2006 production of
Love Song in which she played
Francis Guinan's loveable, lovely wife and
Ian Barford's sister.
Speaking of Guinan and Barford -- and coming full circle -- they'll
also be exiting
August: Osage County come Sunday. Guinan's superb performance as Mattie Fae's husband Charlie will be followed by
Robert Foxworth (best known for television's sudsy "
Falcon Crest"), while Barford's Little Charles will be portrayed come Tuesday by Steppenwolf ensemble member
Jim True-Frost (best known for
HBO's "
The Wire").
I last caught Foxworth around 2003 in the touring production of
Proof as he offered an intelligent take on a genius father who went mad. As for True-Frost,
I saw him, interestingly enough, under
Amy Morton's taut direction in the 2006 Steppenwolf production of
The Pillowman (which also starred none other than Tracy Letts); at the time, I saluted True-Frost's "right mix of indignation and fear" in his portrayal of Katurian Katurian Katurian.
As if all those departures aren't enough, a fifth original cast member from the original Chicago incarnation is set to bid farewell. Steppenwolf co-founder
Jeff Perry's Bill Fordham will now be played by Tony-winning actor
Frank Wood (
Side Man).
Of course, with the onslaught of Tonys that
August: Osage County is expected to enjoy, it's likely that the production just might last on Broadway well beyond August. Not bad for a little ensemble piece that was initially set for a limited run.
This is Steve On Broadway (SOB).
Click here for tickets.Related Stories:SOB's 2008 Tony Picks - Who Will Win (June 10, 2008)
SOB's 2008 Tony Picks - Part III (June 6, 2008)
SOB's 2008 Tony Picks - Part II (June 5, 2008)
SOB's 2008 Tony Picks - Part I (June 4, 2008)
SOB's Best Of 2007-08: Best New Plays (May 30, 2008)
More August Honors (May 19, 2008)
Whoopi! Tony Eligibility And More Handicapping (May 9, 2008)
An August Award (April 7, 2008)
Today's The Day ... Or Maybe Not (April 7, 2008)
Producer's Perspective Is Sneak Peek (March 24, 2008)
Fantasy Casting Calls (February 26, 2008)
Dennis Letts - RIP (February 24, 2008)
August: Osage County (The SOB Revisit) (February 20, 2008)
August: Osage County Will Extend Again, Moving To Music Box (February 15, 2008)
Is It Just Me, Or... (Part III) (January 22, 2008)
Hot, Hot, Hot August Just Got Longer (January 14, 2008)
SOB's 7 Singular Sensations Of '07 - #1: Deanna Dunagan (December 31, 2007)
SOB's 7 Singular Sensations Of '07 - #3: Amy Morton (December 29, 2007)
ModFab: The Jury Is In (December 28, 2007)
August: Best Time Of The Year (December 15, 2007)
Sorkin "No Tracy Letts" (December 14, 2007)
More Than One Critic Letts August Esteem Show (December 5, 2007)
August Heat Fires Up December Opening (December 4, 2007)
Cold Opening Possible For August: Osage County? (November 16, 2007)
Finally, Back To The Table (November 14, 2007)
Add August To The List? (November 14, 2007)
An August Work (October 30, 2007)
Steppenwolf Letts "Juicy" August Move Forward (September 15, 2007)
This October, Letts' "August" Begins On Broadway (August 22, 2007)
August: Osage County (The SOB Review) (August 19, 2007)
Labels: August Osage County, Broadway, Chicago, Deanna Dunagan, Francis Guinan, Ian Barford, Jeff Perry, Play, Replacements, Rondi Reed, Steppenwolf, Touring Production
Carousel (The SOB Review) - Southern Theatre, Minneapolis, MN*** (out of ****)Necessity is certainly the mother of invention. This is especially true when it comes to spartan, regional productions of big, well-known shows.
I’ve long admired the ingenuity of small theatre company directors who are forced to rethink classic shows only to devise gorgeous and compelling new visions, often designed to maximize every last dollar. One of the best such directors in Minneapolis is Peter Rothstein, who has succeeded in brilliantly reimagining both timeless musicals and lesser known works at the city’s fledgling
Theatre Latté Da.
Now I’ll add another name to that list: Ben Krywocz, who has largely succeeded via his elegantly austere
Nautilus Music Theater revival of
Rodgers and
Hammerstein’s
Carousel. To be honest, I had never heard of this company before (I hadn’t even heard of the theatre in which it was playing), but what a find! I felt as though I discovered America and unearthed an amazingly rich motherload of talent as if a lost civilization.
With no merry-go-round in sight (unless you count the symbolic circle in the center of the stage), nearly every element that makes this a visually arresting reinvention comes from the performances themselves, derived from one of best scores from the canon of the legendary songwriting duo as well as from the gracefully balletic choreography of Brian Sostek and Megan McClellan.
This
Carousel spins best when the entire ensemble takes to the stage. Often, it’s to sing in heavenly harmony on chorus-driven tunes like “June Is Busting Out All Over” or “You’ll Never Walk Alone.” This fresh-faced troupe is simply astounding for its highly stylized gift of movement (in fact, many in the ensemble are credited as members of the
Zenon Dance Company). Given the abundance of truly stunning talent, it’s hard to believe you’re actually watching the work of a frugal theatre company.
Unfortunately, there’s not much you can really do with Hammerstein’s hackneyed book. That is, unless you have the kind of raw sensual chemistry between the show’s virile Billy Bigelow and gorgeous Julie Jordan. In previous viewings of
John Raitt’s original Broadway performance, it’s not hard to see how his handsome bad-boy allure and sheer charisma could charm the ladies. To be plausible, you need that kind of authenticity.
In this production, Billy Bigelow is portrayed by local Twin Cities actor Bradley Greenwald. While he certainly has a rich, golden throated voice necessary for the role, he is not very well-suited to play the romantic lead. Hardly menacing, Greenwald continually contorts his face with mugging reminiscent of Jim Carey or Jerry Lewis. It was almost as if he realizes that unless he uses such distracting ticks, he’ll be mouthing along his fellow actors’ lines.
This Carousel’s Julie, played by Jennifer Baldwin Peden, is the real deal. Winsome with pretty face and voice, and a sense of urgency about her, one can easily understand why she would have caught Billy’s wandering eye. Joel Liestman as Enoch Snow is a surprising delight, and theatre veteran Susan Hofflander as Nettie Fowler brings a sense of gravitas to the proceedings, particularly with her rendition of “You’ll Never Walk Alone.”
Overall, I found this Carousel rather intoxicating and hauntingly exquisite. But if you want to see it, you’d better act fast as performances only last throughout the weekend. To the ensemble's credit, they've asked for good word of mouth, so here it is. Go see it!
This is Steve On Broadway (SOB).
Click here for tickets.Labels: Carousel, Minneapolis/St. Paul, Musical, Revival, The SOB Review
SOB's Best Of 2006-07: Best Revivals Of PlaysOver the past year, I've had an opportunity to see many outstanding revivals of plays throughout the United States as well as abroad. Here's my personal "5 Best" list of the revivals I'm thankful I had a chance to see:
1 - The Real Thing (McGuire Proscenium Stage, Guthrie, Minneapolis, MN)
With some of the sharpest, wittiest writing among plays of the past quarter century,
The Real Thing was the real deal when it was presented late last summer as the first regular production in the new
Guthrie’s McGuire Proscenium Stage.
Tom Stoppard’s excellent London-based comedy on the meaning of true love was both imminently smart and deliciously accessible under
Joe Dowling’s expert direction, as well as through its superb ensemble, including
Jay Goede (Henry),
Kathryn Meisle (Annie),
Sally Wingert (Charlotte),
Lee Mark Nelson (Max),
Jonas Goslow (Billy), Elizabeth Stahlmann (Debbie) and Mike Rasmussen (Brodie).
Goede was in top form and exceptionally convincing as Henry, the “old sod” playwright who doesn’t readily show his emotions or affections. Yet when he did -- with the absolutely poetic language Stoppard speaks through Henry -- his dialogue was as romantic as it gets. Goede was breathtaking to watch. Meisle was every bit Goede’s equal and displayed raw emotions through her luminescent, expressive eyes.
The Real Thing was a joy to behold and proved to be a great harbinger of things to come for the new Guthrie as some of my other top picks will support. (
Meisle and Goede are pictured above, courtesy of Guthrie.)
Click here for The SOB Review of The Real Thing.
2 - The Prime Of Miss Jean Brodie (Acorn Theatre, New York, NY)
While maligned by some critics, I was absolutely spellbound by
Jay Presson Allen’s pre-World War II drama
The Prime Of Miss Jean Brodie when it was given a hauntingly beautiful revival by The New Group under
Scott Elliott’s exquisite direction. In it,
Cynthia Nixon offered one of her most nuanced, breathtaking performances ever. Nixon was mesmerizing as teacher Jean Brodie, whose romanticized visions of how the world should be ordered are at once both gorgeous and grotesque.
In a stunning, breakthrough performance, the brilliant
Zoe Kazan played Brodie's student Sandy, who undermined her teacher's grand plans and in the process threatened her long tenure with the school. Throughout the course of the play, Nixon expertly peeled back each layer of Brodie to reveal a shockingly fascist and sanctimonious soul whose fascination with Benito Mussolini, Adolph Hitler and Francisco Franco imperiled not only her position, but also one of her students.
Through Brodie, we saw how easily impressionable minds can be swept up by charismatic leaders in following a perilous course, and in these dangerous times, the allegory remains every bit as valid today. The ensemble in this excellent production was nothing short of exceptional and helped make
The Prime Of Miss Jean Brodie, hands-down, one of the best plays I've seen over the past year.
Click here for The SOB Review of The Prime Of Miss Jean Brodie.
3 - A Moon For The Misbegotten (Brooks Atkinson Theatre, New York, NY)
Less than two weeks ago, I finally caught
Eugene O’Neill’s spectacular
A Moon For The Misbegotten for the first time. To say I was completely enthralled by
Howard Davies’ mesmerizing, profoundly moving, and yes, even entertaining production -- as well as by the intensity of the three principal actors -- would be an understatement.
Colm Meaney,
Eve Best and
Kevin Spacey are all brilliant.
Best is nothing short of a revelation in offering the production's most nuanced performance; the diminutive actress may not quite be the cow O’Neill originally envisioned, but her forceful take on Josie makes her a woman whom men should challenge at their own peril.
What I found so captivating about Spacey’s ultimately heartbreaking portrayal is that, as the eternal actor and kidder, Jim Tyrone has little choice but to mask over the truth and shame he feels deep in his soul by putting up a front of frivolity. That and the refuge he takes in the bottle essentially provide him the sole remaining means by which he can bear to live with himself. Together, Best and Spacey are as symbiotic as any two actors I’ve witnessed, and they provide one of the most astonishing and affecting hours I’ve experienced from live theatre all year.
Click here for The SOB Review of A Moon For The Misbegotten.
4 - The Diary Of Anne Frank (Steppenwolf Downstairs Theatre, Chicago, IL)
Director
Tina Landau succeeds in building the current Steppenwolf revival of
The Diary Of Anne Frank into an engrossing, near pitch-perfect production. The real-life source material may already be 63 years old, but Landau brings a haunting brilliance to the time-honored dramatization by taking takes chances that ultimately pay off, including enabling the story to move beyond the play's previous conclusion in such a striking fashion that there were audible gasps from the audience. Landau triumphs in proving why this timeless classic deserves to be retold yet again.
This extraordinary production is also blessed by an exceptional ensemble, each of whom turns in a profoundly moving performance. Chief among them are the absolutely astounding
Claire Elizabeth Saxe in the title role and a spectacularly measured performance by
Yasen Peyankov as her father. Right before your eyes, Saxe's maturation as Anne, physically and emotionally, is palpable. You won't believe you're watching a current high school senior -- she's that good. As for Peyankov, by scaling his performance so astonishingly, he becomes the heart of this production.
This is a production that deserves to be seen, not only by those who don't understand the extent of the Nazis' savageries, but also for anyone who yearns for a deeper appreciation of the galvanic capabilities provided by the young Anne Frank's words, which remain as vital today as ever.
Click here for The SOB Review of The Diary Of Anne Frank.
5 - The Glass Menagerie (McGuire Proscenium Stage, Guthrie, Minneapolis, MN)
If there's a common thread among my five favorites, it's the daring to re-imagine respected and time-honored works into accessible theatre for today's audiences. Another prime example was in yet another
Joe Dowling-helmed revival, this time via
Tennessee Williams'
The Glass Menagerie. Shaking this play to its core, Dowling's split the Williamsesque Tom Wingfield in two with
Randy Harrison portraying the younger Tom, while
Bill McCallum tackled the older one. And it succeeded.
But if there was an actual force that lingered, even when she wasn't on the stage, it was
Harriet Harris as Tom's manic mother Amanda. Harris erupted with a volatile mix of authentic neurosis and delusional charm to make you believe she understood the archetype Williams intended perfectly. An actor's actor if ever there was one, Harris mastered this role with clarity and precision, even when she wasn't speaking a word. Hers was one of the best performances I saw all year.
There was much to recommend in Dowling's insightful, respectful and surprisingly entertaining production, and near as I could figure, none of Williams' beautifully poetic language had been altered. Dowling's dramatic tinkerings made for a very chilling evening that actually illuminated the darkest parts of Williams' soul. To me, that's the mark of a great production.
Click here for The SOB Review of The Glass Menagerie. Honorable Mentions:Two revivals from the last year are very deserving of honorable mentions:
- K2 (Jungle Theatre, Minneapolis, MN) -- Director Bain Boehlke succeeds in ascending to the apex with this chilling and riveting revival of Patrick Meyers' K2. This is without question the best production I've seen at Minneapolis' intimate Jungle Theatre. Despite its scant running time of 90 minutes (including one 15 minute intermission), K2 is an adventurous and towering achievement worth the plunge. (Click here for The SOB Review of K2)
- Lost In Yonkers (Wurtele Thrust Stage, Guthrie, Minneapolis, MN) -- While many of Neil Simon’s plays are known for their broader humor, Lost In Yonkers is much more introspective and personal, succeeding with subtle, sophisticated wit and charm. Thanks in no small part to Gary Gisselman's expert, deliberate direction, Lost in Yonkers was particularly winning in making us understand that under Grandma Kurnitz's (Rosaleen Linehan) tough, crusty exterior lies a human being, complete with heart, after all.
What were the best revivals of plays you saw over the past year? I invite you to join the conversation by sharing your theatre experiences with me.
Also, don't forget to vote for the shows you believe will win in each of the four major Tony Award categories: Best Musical, Best Play, Best Revival of a Musical and Best Revival of a Play. You'll find all four polls on the right-hand side of Steve On Broadway.
This is Steve On Broadway (SOB).
Click here for tickets to A Moon For The Misbegotten (playing through June 10) Click here for tickets to K2 (playing through May 20).Click here for tickets to The Diary Of Anne Frank (playing through June 10)Related Stories:The SOB Five "Worst" Of 2006-07 (May 14, 2007)
SOB's Best & Worst Of 2006-07 Theatre Season (May 14, 2007)
SOB's Best of 2005-06: #1 - Theater Of The New Ear (May 30, 2006)
SOB’s Best of 2005-06: #2 – Guys And Dolls (May 26, 2006)
SOB’s Best of 2005-06: #3 – Hedda Gabler (May 25, 2006)
SOB’s Best of 2005-06: #4 – A Blameless Life (May 24, 2006)
SOB’s Best of 2005-06: #5 – Reeling (May 23, 2006)
SOB’s Best of 2005-06: #6 – “MASTER HAROLD”…And The Boys (May 21, 2006)
SOB’s Best of 2005-06: #7 – Love Song (May 19, 2006)
SOB's Best of 2005-06: #8 - Billy Elliot The Musical (May 18, 2006)
SOB's Best of 2005-06: #9 - The Well-Appointed Room (May 17, 2006)
SOB's Best of 2005-06: #10 - Sweeney Todd (May 15, 2006)
SOB's Best and Worst of 2005-06 Theatre Season (May 12, 2006)
Flashback: Best of 2004-05 (May 26, 2006)
Flashback: Best of 2003-04 (May 25, 2006)
Flashback: Best of 2002-03 (May 25, 2006)
Flashback: Best of 2001-02 (May 24, 2006)
Flashback: Best of 2000-01 (May 23, 2006)
Labels: A Moon For The Misbegotten, Best Revival of Plays, K2, Lost In Yonkers, SOB's Best of 2006-07, The Diary Of Anne Frank, The Glass Menagerie, The Prime Of Miss Jean Brodie, The Real Thing
SOB's Best Of 2007-08: Best New PlaysIf you're a fan of new plays over musicals, this was truly your year. The 2007-08 Theatrical Season marked a resurgence in exceptional plays.
Personally, I was fortunate to see 18 new plays, not only coast-to-coast across America, but also in London. And guess what? I actually
enjoyed most of them, making my picks for the "Top 5" the most difficult category to select.
However, reigning supreme at the number one spot is a show I instantly fell in love with the first time I saw it last summer at a regional theatre (and for regular readers, you'll allow that I was way ahead of the curve on this one). Now that it's on Broadway, I'm preparing to take it in for second time there and third time overall. As the best play I've seen this year, let alone the past decade, it has set a new standard by which I've begun judging all other productions.
Here is my personal "5 Best" list for the past twelve months:
5 - 100 Saints You Should Know (Mainstage Theatre, Playwrights Horizons, New York, NY)
At the intersection where faith and disbelief collide,
Kate Fodor’s arresting and provocative new play
100 Saints You Should Know provided a frequently humorous, yet ultimately circumspect morality play about a woman finding herself on a spiritual quest. What still resonates and lingers with me is the purity in which Fodor wrote this compelling piece, seemingly without any agenda or ax to grind about faith or religion. To that end, she succeeded brilliantly without being heavy-handed or preachy. It didn't hurt that her script was aided tremendously by the world premiere's uniformly exceptional Off-Broadway cast, including the graceful dignity offered by
Lois Smith, the sassy adolescent insolence of
Zoe Kazan, or the tender awkwardness that comes with burgeoning teen sexuality as portrayed by
Will Rogers.
Regardless of your religious beliefs or lack thereof,
100 Saints You Should Know was well worth seeing and knowing.
4 - Mauritius (Biltmore Theatre, Manhattan Theatre Club, New York, NY)
Some plays just don't get the respect they deserve.
Theresa Rebeck’s surprisingly thrilling and highly entertaining
Mauritius was among them. Thanks to
Doug Hughes’ taut direction, Mauritius provided one of those exceptionally riveting, edge-of-your-seat theatrical experiences -- a veritable roller coaster ride of delicious deception that literally pulled no punches. In fact, the play about two half-sisters arguing over the rightful ownership of a potentially invaluable stamp collection left behind by their now deceased mother packed quite a wallop that is typically as rare in theatre as the collection’s two 19th Century stamps from Mauritius.
With a superb ensemble collection, Rebeck spun a diabolically delicious yarn.
Alison Pill scored with a truly extraordinary, breathtaking performance by inhabiting the darkest recesses of someone willing to sell her very soul for a shot at money. To say she delivered a nuanced portrayal would be an understatement. While the Tonys inexplicably passed over her performance, Pill further cemented her reputation as Broadway's top young actress.
Mauritius met with my stamp of approval on virtually every level.
3 - From Up Here (New York City Center, Manhattan Theatre Club, New York, NY)
Liz Flahive's poignant, yet darkly funny
From Up Here provided an auspicious debut for this budding playwright, particularly as she instilled her fully realized characters with compassion, along with a heaping healthy dose of what troubled teens need more than anything else: hope. Flahive ably underscored how hope requires elevating the teenage human spirit to a loftier place where they can see that life doesn't begin and end in the place perhaps mistakenly called "high" school.
In one of the year's most profoundly moving male performances,
Tobias Segal deftly exhibited all the knotty tableau of emotions ranging from utter dejection to glimmers of hope his tortured soul endures. Mark my words, this is one hot young actor whose name you'll want to remember.
Julie White gave a tightly wound, measured performance laced with an appropriate blend of humor and anxiety for a mother who's at the end of her rope. She was truly brilliant. In a very honest, straightforward manner,
Will Rogers once again nailed the coming to wits angst inherently found both among those growing up and those who must deal with fragile youth.
What really struck a chord with me is that for all the awkwardess that most youth must go through,
From Up Here gave immense direction by pointing the way out via a revelatory, resonating route that made live theatre suddenly relevant again.
2 - The Seafarer (Booth Theatre, New York, NY)
Conor McPherson's chilling new play
The Seafarer was so damned good, it's practically enough to put the fear of God in you. In his mesmerizing new and often funny morality play set on Christmas Eve, McPherson proved he's all aces. Both writing and directing this cautionary tale, he magnificently constructed a harrowing, on the edge of your seat nailbiter that was as much about giving the devil his due as it is about the potential for redemption for two card-playing good-for-nearly-nothing drunks for brothers.
As one of those brothers, the astounding
Jim Norton appeared to have literally drunk himself blind. His performance was matched by an utterly unrecognizable
Conleth Hill as one of the brothers' card-playing mates.
All in all, this was one helluva great play.
1 - August: Osage County (
Downstairs Theatre, Steppenwolf, Chicago, IL/
Imperial Theatre, New York, NY)
Was there any doubt?
Since first being blown away by this now Pulitzer Prize-winning masterpiece by
Tracy Letts way back last August in the Windy City, 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 provides for one stellar performance after another by its excellent ensemble.
Now six months into its acclaimed Broadway run, the play runs 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. And it's even funnier, too.
Deanna Dunagan (Violet) single-handedly delivers a bravura performance for the ages as the matriarch of the Weston clan. But she's matched by an equally stunning ensemble, with
Amy Morton giving as good as she gets, and even better, as Violet's daughter Barbara;
Rondi Reed's Mattie Fae is 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 offers a sweet dignity to the proceedings, especially when considered against one of the play's many revelations exposing the startling truth about his own son.
Since first seeing the show last summer in Chicago, I've known that I've witnessed something very, very special in the world of live theatre. Upon considerable reflection, I can attest that this is
the best new stage play I've seen over the last five years.
What were the best new plays
you saw over the past year? I invite you to join the conversation by sharing your theatre experiences with me.
This is Steve On Broadway (SOB).
Related Stories:SOB's Best Of 2007-08: Best New Musicals (May 29, 2008)
SOB's Best Of 2007-08: Best Revivals Of Musicals (May 28, 2008)
SOB's Best Of 2007-08: Best Revivals Of Plays (May 27, 2008)
SOB's Best Of 2007-08: Best Special Theatrical Events (May 24, 2008)
The SOB Five "Worst" Of 2007-08 (May 23, 2008)
SOB's Best & Worst Of 2007-08 Theatre Season (May 22, 2008)
SOB's Best Of 2006-07: Top Ten Of The Year (June 4, 2007)
SOB's Best Of 2006-07: Best New Musicals (May 22, 2007)
SOB's Best Of 2006-07: Best New Plays (May 21, 2007)
SOB's Best Of 2006-07: Best Revivals Of Musicals (May 18, 2007)
SOB's Best Of 2006-07: Best Revivals Of Plays (May 16, 2007)
The SOB Five "Worst" Of 2006-07 (May 14, 2007)
SOB's Best & Worst Of 2006-07 Theatre Season (May 14, 2007)
SOB's Best of 2005-06: #1 - Theater Of The New Ear (May 30, 2006)
SOB’s Best of 2005-06: #2 – Guys And Dolls (May 26, 2006)
SOB’s Best of 2005-06: #3 – Hedda Gabler (May 25, 2006)
SOB’s Best of 2005-06: #4 – A Blameless Life (May 24, 2006)
SOB’s Best of 2005-06: #5 – Reeling (May 23, 2006)
SOB’s Best of 2005-06: #6 – “MASTER HAROLD”…And The Boys (May 21, 2006)
SOB’s Best of 2005-06: #7 – Love Song (May 19, 2006)
SOB's Best of 2005-06: #8 - Billy Elliot The Musical (May 18, 2006)
SOB's Best of 2005-06: #9 - The Well-Appointed Room (May 17, 2006)
SOB's Best of 2005-06: #10 - Sweeney Todd (May 15, 2006)
SOB's Best and Worst of 2005-06 Theatre Season (May 12, 2006)
Flashback: Best of 2004-05 (May 26, 2006)
Flashback: Best of 2003-04 (May 25, 2006)
Flashback: Best of 2002-03 (May 25, 2006)
Flashback: Best of 2001-02 (May 24, 2006)
Flashback: Best of 2000-01 (May 23, 2006)
Labels: 100 Saints You Should Know, August Osage County, Best New Plays, From Up Here, Mauritius, Play, SOB's Best of 2007-08, The Seafarer, Tracy Letts
August: Osage County (The SOB Review) - Downstairs Theatre, Steppenwolf, Chicago, IL**** (out of ****)As regular readers know, I employ a four-star system to rate the live stage productions I see. Four stars are strictly reserved for the best of the best.
However, if I could defy my own rules, I'd give
August: Osage County five stars. Under the exceptionally sure and steady guiding hand of
Anna D. Shapiro, it's that hot of a show. And the direction isn't the only thing that's sweltering on the stage.
By far the best-written, best-acted play I've
ever seen at Chicago's
Steppenwolf -- and that's no small feat --
August: Osage County is ensemble member
Tracy Letts' masterpiece.
It's mesmerizing.
To say it's the most excellent stage production I've seen this year would be a gross understatement.
While it would be far too easy to think of this as some modern-day version of
Eugene O'Neill's
Long Day's Journey Into Night, the three-hour, 20-minute family saga is at once chilling
and funny. Letts, an Okahoma native, ingeniously paints a picture of life that's both bleak and vital in the immense, rural area to the northwest of Tulsa where temperatures easily soar in the eighth month of each year.
August: Osage County centers on a heavy-drinking poet Beverly Weston (
Dennis Letts, the playwright's father, in a subtle poignant portrayal who haunts the play long after his lone appearance) and his venomous drug-addled wife Violet (a breathtakingly potent
Deanna Dunagan, pictured, in
the single most important performance I've seen yet this year).
Despite Violet's often delusory state, she manages to retain an iron grip on the roost, lording over her three daughters -- Ivy (
Sally Murphy oozing neuroses), who yearns to break free of her mother's tight tether by skipping town with cousin Little Charles (
Ian Barford at his most complex); Colorado-based Barbara (
Amy Morton at her most deliciously high-strung), whose visit home is complicated by her rocky relationship with husband Bill (Steppenwolf co-founder
Jeff Perry in a wonderful welcome return); and Miami-based Karen (
Mariann Mayberry , glorious in her vulnerability) whose pronouncements that she's living in the here and now, complete with the specious declaration that she no longer lets anything get her down, come across more as protestations of the "too much" variety.
Violet's tentacles also suck in her own seemingly clueless sister Mattie Fay (
Rondi Reed in a delectable departure from portraying Madame Morrible in Chicago's
Wicked) and her husband Charlie (a wonderfully obtuse
Francis Guinan).
My first twinge in realizing just how excellent this production would be was in the opening scene. Beverly is not so much interviewing Johnna (Kimberly Guerrerro), a mysterious young native American woman, for a housekeeping position as much as he's preparing her for the tumult she's about to face in the wake of his departure. He's long-since resigned to losing his battle with the bottle and his wife's addictions to the many drugs she takes, yet he wants to leave Violet in caring hands. During their conversation, Violet makes her first incoherent drug-hazed entrance, and it becomes clear that Johnna will have her hands full.
Once Beverly is gone, the rest of the family descends on the home, which is fraught with bombshell after bombshell, which of course are impossible to sweep under the rug. But the biggest revelation is just how handily this superb ensemble moves from humor to pathos.
Ann G. Wrightson's creative lighting design illuminates everything
unseen from the television that various characters use in trying to escape their hellhole to the flashing lights of a squad car that arrives with news of Beverly.
Richard Woodbury, who ironically worked on the last Broadway revival of
Long Day's Journey Into Night, offers a sound design that heightens the tension. And Todd Rosenthal's three-story set design turns this home into the powder keg it actually is while offering its characters no real isolation from each other -- with the notable exception of Johnna's third-floor sanctuary.
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.
This is Steve On Broadway (SOB).
Click here for tickets.Labels: Amy Morton, Anna D Shapiro, August Osage County, Chicago, Deanna Dunagan, Play, Steppenwolf, The SOB Review, Tracy Letts
Did Boeing-Boeing Have Critics Flying High?Yesterday, the first Broadway revival of the sixties sex farce
Boeing-Boeing opened at the
Longacre Theatre. Helmed by
Matthew Warchus, the play was written by
Marc Camoletti and translated by
Beverley Cross and
Francis Evans. The show stars
Christine Baranski,
Bradley Whitford,
Gina Gershon and
Mark Rylance.
Most critics were flying high in their praise of the show.
Offering that the revival "soars right out of its time zone and into some unpolluted stratosphere of classic physical comedy,"
The New York Times'
Ben Brantley is first in line for take-off: "
Boeing Boeing, it turns out, has great bones.... It allows the cast members to cut loose like preschoolers on the playground of their dreams. And like fond parents, we can enjoy their shenanigans while knowing that the slides and swing sets are too well-made for anyone to get seriously hurt. Their performances are among the most one-dimensional and stereotyped that have ever shown up on a Broadway stage -- and that’s a large part of their roaring success.... At the performance I saw, the ensemble began a tad shakily, and I wondered if I had been a fool to enjoy the play as much as I did when I saw it in London last year. But as the show progressed, everyone shed self-consciousness and found a shared rhythm. The second act was unconditional bliss."
Concluding that "nothing sullies the enjoyment of Warchus' sprightly production or of the play's unexpected ingenuity,"
Variety's
David Rooney also soars in his review: "It could have been a tired dollop of '60s camp in the wrong hands, but director Matthew Warchus and his sparkling cast fine-tune this fluffy French farce with clockwork precision, and the result is a riot.... [W]hile it usually requires more verbal complexity than physical dexterity to sustain this kind of featherweight comedy, Warchus and the ensemble do a remarkable job of keeping things at cruise speed for 2½ hours with no discernable lags.... [W]hile none of the women are slouches, the master of physical comedy here is Rylance, the one holdover from the production's London cast.... With inexhaustible inventiveness, Rylance gives shape to Robert's sly blossoming from a meek, unsophisticated bystander into a man eager to remedy his romantic inexperience and not shy about partaking of his friend's female smorgasbord."
Lauding that "it's nothing but blue skies and mile-high hilarity,"
Joe Dziemianowicz of New York's
Daily News gives this ticket four out of five stars: "At certain points, the comedy becomes very broad, almost ridiculous. But it's such a blast, you don't care. Credit goes to director Matthew Warchus, whose jet-propelled production is filled with fantastic performances. Chief among them is one by Mark Rylance, who played the frazzled and lovable Robert in London. In his Broadway debut, he creates one of the funniest characters in memory.... Bradley Whitford makes a dashing and dexterous playboy who seems to have taken the "American in Paris" thing to heart.... As the exasperated maid, seasoned joker Christine Baranski lays on the French accent thicker than a sauce Béarnaise -- and it works."
Gushing that "gold is gold, and if slogging through the likes of
Boeing-Boeing" is what it takes to mine it, so be it,"
Eric Grode of
The New York Sun offers a review that's positivey upright and in a locked position: "Matthew Warchus and his rubber-limbed sextet of actors have somehow wrenched Marc Camoletti's musty effort out from its own 747-size languors. And once again, the salvage operation is led by a superb comic performance. This time it's Mark Rylance, taking a decided step away from his renowned Shakespearean diet ... and creating a staggeringly funny portrait of lust-deranged masculinity.... The usually dependable Ms. Baranski trips up repeatedly on her impenetrable French accent but handles Berthe's silent passages neatly, with a deceptively casual face-off between her and Robert serving as a giddy respite amid the slamming doors and flying bodies. Mr. Whitford, by comparison, starts out uncomfortably broad and has nowhere to go as the tension builds."
Fessing up that "I hate to be a buzz kill.... [A]nd I don't have a clue to explain the genuine mirth around me,"
Newsday's
Linda Winer sounds as if the show lost her luggage: "Why the reception appears to be different now, I don't dare to analyze. Despite a dreamy hoot of a performance by Mark Rylance ... the director's comic philosophy is rooted in the bellowing, jumping around, hitting-with-a-beanbag-chair school of humor.... Please don't get me wrong. My problems is not prissy feminism, a modern distortion of feminism's joy and strength. Sure, women are plugged into the mechanics of the plot as if they were widgets in gumball-colored, miniskirted airline uniforms. But the women ... are at at least unpredictable. Warchus ... lets the women be sexual thugs-blowup dolls who are also action figures. The physical businesses -- the phony trembling fits, the floor rolling and the big leggy strides across the stage -- culminate, if that's the verb, with special 'curtain-call choreography' by Kathleen Marshall. Big strides for the theater, perhaps, are for another day."
Declaring that
Boeing-Boeing "crash landed,"
New York Post' s
Clive Barnes sounds as if he boarded the wrong flight in his one-star review: "When I saw this revival, staged by Matthew Warchus and designed by Rob Howell, in London last summer, I thought it was terrible, but Rylance had already left the cast, and I was assured by some that he had made a terrific difference. He does make a terrific difference. And it's still terrible -- as repetitious and as tedious as a flea circus.... But the whole cast, particularly the agile Whitford and a beautifully acidulated Baranski, as the game but aging French maid, prove to be accomplished farceurs."
With plenty of raves all around, this
Boeing-Boeing looks like it can settle in for a reasonably long, comfortable flight on the Great White Way. I'll be taking in a performance this week and will provide my own SOB Review shortly thereafter.
This is Steve On Broadway (SOB).
Click here for tickets.Related Stories:Opening: Boeing-Boeing Lands On Great White Way (May 4, 2008)
Is It Just Me, Or... (Part III) (January 22, 2008)
Boeing-Boeing To Touch Down On Great White Way (September 17, 2007)
Was De La Tour's Latest A Tour De Force With Critics? (February 17, 2007)
London's Boeing-Boeing Flies Into Opening Night (February 15, 2007)
Labels: Boeing-Boeing, Bradley Whitford, Broadway, Christine Baranski, Critics' Capsule, Mark Rylance, Matthew Warchus, Play, Revival
