All That Fall

"All That Fall" at 59E59 Theatre, November 10, 2013

(Photo by Carol Rosegg)

All was gray - the afternoon, the audience, and for the most part, the somewhat starry cast, featuring Eileen Atkins and Michael Gambon, arrives from London (mostly) in this minimally staged radio play by Samuel Beckett, directed by Trevor Nunn. 

The story, being Beckett, is a bit nihilist, about an older woman of questionable health making her way to meet her blind husband at the train station.  We shuffle along with Mrs. Rooney (Ms. Atkins) as she encounters a menu of rural British characters, the dung peddler Christy (Ruairi Conaghan) on his cart, the retired Mr. Tyler (Frank Grimes) on his bike, the Clerk of the Racecourse Mr. Slocum (Trevor Cooper) in his car, each in advancing means of transportation, but none speeding the dreary tale along.  The aptly named Miss Fitt (Catherine Cusack), a protestant zealot gives Mrs Rooney the final bit of assistance upon arrival at the station.

After much consternation about the late arrival of Mr. Rooney's (Mr. Gambon) train, he finally appears slightly worse for wear, but tight-lipped about the cause of the delay.  I won't spoil the source, but there's an obscure plot moment near the end that suggests his part in it.

Performances are generally even, with Ms. Atkins bearing the majority of the spoken burden.  Her characterization is, as one would certainly expect, spot on, mumbling, grumbling, beseeching and complaining in every interaction.  Mr. Gambon arrives prepared to deliver to a full Broadway house, filling every inch of the theatre and then some.  Despite this overbalance, he still turns in a well-crafted performance.  The supporting roles are capably executed as well.

Mr. Nunn seems to have had little to do given the strength of his leading couple (both on book), other than lay out their traffic pattern and arrange the supporting roles around them.  Paul Groothuis' sound design distracts as much as it adds, featuring dragging footfalls for Mrs. Rooney that sound more like a spirit's presence in a mediocre haunted house.  The set, as it is, features suspended microphones which go largely ignored in a black room. 

Still Ms. Atkins and Mr. Gambon are the justifiable draw, evoking the ennui, frustration and anger of losing one's power in the world by remaining in it for so long.

This limited engagement of All That Fall runs through December 8.  Find tickets here.

A Little Night Music (revisit)

"A Little Night Music" at the Walter Kerr Theatre, July 30, 2010

(photo: Joan Marcus)

With an impressive pair of replacements, I returned to see ALNM.  I'm so glad I did.  As much as I enjoyed the original cast (review: here), it is so nice to see how a change of actor can enhance a show.

Taking on the mantle of Madame Armfeldt from Angela Lansbury, Elaine Stritch gives a two-level performance, though perhaps unintentionally.  It reminded me a bit of when I saw the revival of "Nine" a few years ago and Eartha Kitt had taken over the role of Liliane LeFleur from Chita Rivera.  Then, Ms. Kitt as Ms. LeFleur was dreadful, BUT Ms. Kitt as "Eartha Kitt as Liliane Lefleur" was fabulous.  The effect is similar here with Ms. Stritch.  Her classic deadpan line readings don't quite deliver the sophistication one expects from Mme Armfeldt, but taking the performance as a whole, she does make a success of it.  There were a few bumpy moments along the way in "Liaisons" but only the truest fans who have the score memorized would have realized it.

Replacing Catherine Zeta Jones, Bernadette Peters as Desiree performs as though she's studied the role for years.  Her Desiree is quite a bit more world-weary than her predecessor.  She sees that not only is her beauty on the brink, so is her time to fill the rest of her life.  Ms. Peters does all this without coming across as jaded or cynical, but still hopeful that her chance exists.  At the moment when she thinks all is lost, the classic "Send In The Clowns," she sings through tears with heart-breaking emotion.  It is a masterful performance.

The rest of the cast remains strong overall. A few notes: Miss Mallory's Anne has taken on something of an odd drawl in her speech that feels a bit anachronistic at times, but her performance has grown during the run.  Miss Davie, too, has grown, finding nuance at opportune moments.


Miss Peters and Miss Stritch are on contract through November.  It will be interesting to see if the producers can come up with another pair of replacements this interesting when the time comes.