Private Lives

"Private Lives" at The Music Box, November 15, 2011

This London transfer brings Kim Cattrall back to the Rialto for the first time in 25 years, leading this production of the Noel Coward classic.  Her Amanda was hailed in London and she arrives in New York with a new Elyot in the very handsome Paul Gross.

The crossing seems to have had an impact on the production.  I will confess that there was much to live up to in my eyes, having basked in the glorious revival of 2002 with Alan Rickman and Lindsay Duncan. (Unfair?  Perhaps.)

Mr. Gross' Elyot succeeds best among this cast, urbane, elegant and sophisticated.  Lacking is any sense of chemistry between him and Ms. Cattrall's Amanda.  Ms. Cattrall, rather than rising to meet Mr. Gross' level of sophistication, goes instead for the physical laughs with a sense of awkwardness that undercuts the lyrical writing in the first act.  Fortunately, it's in the power of the writing that this approach still works.

The supporting cast also arrives with mixed results.  Anna Madeley is also a new addition and dithers beautifully as Elyot's new wife, Sybil.  She's an excellent physical match to Ms. Cattrall, even drawing entrance applause by an eager audience who didn't realize that it wasn't Ms. Cattrall.  The more curious appearance is the styling and physical appearance of Simon Paisley Day as Victor.  The role is written and usually cast with a more handsome actor who favors the actor playing Elyot.  A brief internet search did reveal a more consistent appearance with the London production's Elyot, Matthew MacFadyen.  Nonetheless, Mr. Day's Victor is much more of a stick-in-the-mud than I had expected.

It's unclear why director Richard Eyre couldn't help these actors find some chemistry.  Each are certainly capable performers, but never manage to deliver any kind of spark.  Even Anna Madeley as Louise, the maid, fails to deliver any laughs, instead merely strolling through the carnage with disinterest.

Rob Howell's costumes effect the period beautifully, but his sets didn't quite hit the mark for me.  Ms. Cattrall's costumes are particularly exquisite, first the bias-cut, champagne silk gown in Act 1, followed by the lovely navy suit in Act 3.  The Deauville balcony felt a bit skimpy where Amanda's Paris apartment stretched credulity in its excessive splendor of art deco chinoise in silver and verdigris.  The aquarium in the apartment is particularly impressive, echoing the circular theme of the room.  It's a gorgeous set, but hardly Amanda's Paris hideaway. David Howe's lighting draws more attention to itself than truly effective lighting should - too many sharply honed edges in selected zones on the stage.

Private Lives is on a limited run through February 5, 2012.  Get tickets here.

Catching Up the Backlog

It's been a busy spring.  Here's a collection of summaries on what I've seen of late.

"The House of Blue Leaves" at the Walter Kerr Theatre, April 11, 2011

This revival was a big hit in its 1986 production at Lincoln Center Theatre with John Mahoney, Swoosie Kurtz and Stockard Channing.  I wish I'd seen it.  Instead we get Ben Stiller, who was also in the 1986 production, with Edie Falco and Jennifer Jason Leigh.  Ms. Leigh is the only one close to being appropriately cast.  Director David Cromer seems to have strayed from what made his last two successful productions work (Our Town and Brighton Beach Memoirs) - focus on the text.  One has to wonder how much pressure there was for commercial success after the unfortunate end of the latter.  Mr. Stiller flails but never nails the desperation of Artie, making the ending twist all the more flabbergasting for the wrong reasons.  This limited run ends July 23, 2011.

"The Intelligent Homosexual's Guide to Capitalism and Socialism with a Key to the Scriptures" at the Public Theater, April 13, 2011

Tony Kushner returns to New York with a new play on an operatic scale (and length).  Taking on themes of communism, socialism, labor unions, sexuality and betrayal, this production is its latest incarnation after a premiere at the Guthrie.  Powerful and sweeping, one can see the work that has taken place, and the work still to be done.  Where it lacks the extravagant theatricality of Angels in America, it makes up in character development.  Stephen Spinella's Pil, gives us a glimpse of what Louis Ironson might have grown up to be.   Director Michael Greif, who also directed the Signature's revival of Angels... handles the mammoth work with finesse.  It's not Mr. Kushner's greatest work to date, but will rank among the better ones.  This limited run ends June 12, 2011

"Picked" at the Vineyard Theatre, April 15, 2011

Christopher Shinn brings us a tale of "be careful what you wish for" with this story of an actor who finally gets his big break to work with a world-class director (think James Cameron) on a new concept of film-making in which the process is reversed, writing the script after casting the actors.  It's an interesting concept and relatively well-written.  Coming off a starring role in "Cloverfield" Michael Stahl-David handles the scenes of insecurity experienced by most actors well.  He fails to deliver on the more emotional moments where the honesty his character purports to demonstrate don't come through.  Picked runs through May 22, 2011.

"Jerusalem" at The Music Box, April 16, 2011

Mark Rylance returns to Broadway in this story of a down-and-almost-out man fighting to keep the land he claims as a birthright from development.  He supports himself by selling drugs to the wayward youth in the area, drawing them in like the Pied Piper.  The subplot of a missing girl gets a bit lost in the shuffle from time to time, but Mr. Rylance is at his usual stellar performance level playing his own kind of St. George saving the maiden from the dragon.  This limited run ends July 24, 2011.

"The Importance of Being Earnest" presented by Roundabout Theatre Company at the American Airlines Theatre, April 21, 2011

Brian Bedford directs and makes Lady Bracknell the ultimate travesty role in this delightful revival of the Oscar Wilde classic.  Even the likes of Jane Houdyshell as Miss Prism can't steal the spotlight from Mr. Bedford.  This limited run ends July 3, 2011.

"The People in the Picture" presented by Roundabout Theatre Company at Studio 54, April 24, 2011

Once again, the Roundabout varies from their core mission of producing revivals to attempt a new production.  Even talented star power like Donna Murphy and Chip Zien can't help turn this overearnest effort into a hit.  Crossing elements of To Be or Not To Be with Sophie's Choice it finds neither the laughs nor heartache of either.  This limited run ends on June 19, 2011.


"The Normal Heart" at the Golden Theatre, April 25, 2011

What was first received as Larry Kramer's ranting polemic about the origins of the AIDS crisis and the failure of both the US and New York City governments to act in the best interests of homosexual men to stem the plague, it reveals itself as remarkably relevant today.  It also reveals itself as a particularly  good play, well-constructed and very powerful.  This all-star production in its first bow on Broadway features an excellent cast including director wunderkind Joe Mantello in the leading role of Ned Weeks, Kramer's thinly-veiled self-portrait.  Directors Joel Grey and George C. Wolfe channel the pain and anger into power.  David Rockwell's stark black and white set cleverly reveals the seemingly endless headlines and quotes from the period as the situation deteriorates, with stark projections of the increasing number of victims' names eventually covering the walls of the theatre itself.

Not to be missed, this limited run ends July 10, 2011.


"War Horse" presented by Lincoln Center Theater at the Vivian Beaumont, April 26, 2011

Based on a novel for young adults (think Coram Boy), this story of a young man's relationship with his horse during World War I is beautifully staged following its transfer from London.  The use of puppetry figuratively and literally anthropomorphizes the horse Joey, 1/2 thoroughbred, 1/2 workhorse as he struggles to survive the horror of war.  Eight million horses died during WWI - only 62,000 of them were brought back to England.  Even though the script is often predictable, the staging is breathtaking and the emotions are strong.

It's a brilliant production - not to be missed.  War Horse is on an open-ended run.

Lend Me A Tenor

"Lend Me A Tenor" at the Music Box, March 13, 2010

I have always thought Stanley Tucci was a very smart actor.  Making his directorial debut on Broadway, he has only proved that theory by reviving a war horse of a play, Ken Ludwig's Lend Me A Tenor.  On top of that he has assembled, for the most part, a most excellent and talented cast to carry out this farce of egos and ambitions courtesy of the fictional Cleveland Grand Opera. 

World-class opera star, Tito Merelli (Anthony LaPaglia) has arrived to sing the title role in Verdi's Otello for the company, with his wife Maria (Jan Maxwell) in tow.  CGO assistant Max (Justin Bartha) is under strict orders from general manager Saunders (Tony Shalhoub) to keep Signor Merelli from wine and women until after the performance.  The entire city is eager to meet the star, including Max's sometime girlfriend and Saunders' niece, Maggie (Mary Catherine Garrison), her aunt Julia (Brooke Adams), company soprano Diana (Jennifer Laura Thompson) and the Bellhop (Jay Klaitz).  As befitting a farce, mistaken identity, false deaths and bed-hopping all follow in due course.  All that's missing are the Marx Brothers, whom surely must have been in Mr. Ludwig's mind as he wrote.

Beyond intelligent selection of material and cast, Mr. Tucci guides this production with a sure, if sometimes heavy, hand.  Not to discount, by any means, this is a farce, for which a heavy hand is often called.  I'm sure this was also necessary in the rehearsal room, combining the skills and talents of the likes of Messrs. LaPaglia and Shalhoub and Ms. Maxwell.  Each bring larger than life attention to their respective roles.  Mr. Shalhoub's Saunders simmers continually with occasional boil overs as the story unfolds.  His intensity is masterful.  Mr. LaPaglia isn't a world-class tenor, but the singing moments are few and far between.  His Tito, however, is a world-class spoiled star, red-faced and alternately barking and pouting.  Ms. Maxwell's Maria sweeps in and snubs all around.

As Max, Mr. Bartha also doesn't quite have the vocal chops purported to his role, but he's nonetheless endearing and adorable.  Ms. Garrison has managed to get herself cast in another period piece.  This time, however, she is a bit more serviceable though still not quite on the mark.  Ms. Adam (Mrs. Shalhoub) comes off a bit young for her role and doesn't get all that much to do, other than point out that Mr. Ludwig is a Mel Brooks fan. "How do I look?" she asks Saunders. "Like the Chrysler Building" he replies.

Mr. Tucci wraps up the evening with a Buster Keaton style pantomime that retells the whole story.

John Lee Beatty's hotel suite set is gorgeous, with all the requisite doors to accommodate the farce. Kenneth Posner's lights complement nicely.  Martin Pakledinaz' costumes are equally gorgeous.

It's a great evening, and one I recommend.

Superior Donuts

"Superior Donuts" at the Music Box, September 30, 2009

Steppenwolf comes to Broadway, following the success of "August: Osage County" two years ago, once again courtesy of company member Tracy Letts.

From the heat of an Oklahoma summer, now we're in uptown Chicago with winter approaching at Arthur Przybyszewski's shop, Superior Donuts, opened by his immigrant parents in 1950. The neighborhood ain't what it was, nor is the donut shop.

Arthur (Michael McKean) is a 1960's draft dodger (amnesty courtesy of Jimmy Carter) whose fear of confrontation cripples him, ruining his marriage and relationship with his daughter. Divorced for five years, his ex-wife has just died and Arthur is further adrift. The day the shop is vandalized, young Franco (Jon Michael Hill) shows up to apply for the open counter job. All sales from the beginning, he convinces Arthur to hire him, then sets about trying to revive the business. Max (Yasen Peyankov), is a Russian immigrant who owns the electronics shop next door has been after Arthur to sell him the space so he can expand before Best Buy discovers the area and moves in. Franco's own issues soon catch up with him as Luther (Robert Maffia) arrives looking to collect an overdue debt.

Mr. Letts' script slowly reveals bits and pieces of Arthur's past in a series of spotlighted monologues, which I thought worked very well. I'm not usually a big fan of direct address, but the staging and flow make it work. There is a certain "Chico and the Man" aspect in motion, but the play doesn't necessarily suffer from a sitcom feel.

Mr. McKean's Arthur, looking like a Dead-head wannabe with a grey ponytail, scruffy beard and tie-dyed tshirt, suffers miserably over his feelings of loss that are the result of his inability to face and confront his fears. It's an admirable performance. The other supporting players are clear and distinct, each bringing a genuine life to their roles.

It is Mr. Hill as Franco who gets, and makes the most of, the best material. Street-wise, savvy, insightful and clever, his "fatal flaw" remains carefully hidden as he makes an honest attempt to clear up the worries in his life. It's a carefully shaded performance that's certain to bring attention - the kind any young actor strives for.

Director Tina Landau avoids sentimentality with a no-nonsense approach. The last thing I saw her direct was J. M. Barrie's "Mary Rose" at The Vineyard in 2007. These two pieces couldn't be much more different, but there is a common thoughtfulness in both productions.

James Schuette's donut shop, to me, hearkens a bit toward Edward Hopper's "Nighthawks" with its long counter and harsh lighting, courtesy of Christopher Akerlind.

I've got to say, it's looking like another good season for plays on Broadway!

That's What The Means Are For

"The Farnsworth Invention" at the Music Box Theatre, October 18, 2007

Aaron Sorkin returns to Broadway (not just Broadway, but back to the Music Box Theatre) after nearly 20 years with his docu-drama of the birth of television. It's oddly appropriate that Mr. Sorkin pays such tribute to the medium which has brought him such well-deserved success.

He positions the story from the perspectives of David Sarnoff, the RCA CEO who saw the potential of television and Philo T. Farnsworth, the man who actually invented it. Mr. Sorkin has done well by enlisting the help of Des McAnuff and most of the artistic team he used in 2005's "Jersey Boys." What we get is a well-paced, slickly-staged and often moving back story of the politics behind the major advancement of the twentieth century. His mastery of tech and plot effectively pound the theory of TV multiple times without the first moment of feeling redundant.

There's a nice page on the show's website that outlines the history. Check it out so I don't have to bore you with the background here.

http://www.farnsworthonbroadway.com/history.html

The show opens with Mr. Sarnoff (Hank Azaria) narrating the story of Mr. Farnsworth's first idea of how to make television work as a 9th grader in Utah. The young Mr. Farnsworth is a highly self-confident young man, quite assured of his intelligence and the validity of his idea. Time skips forward a bit and the now-grown Mr. Farnsworth (Jimmi Simpson) seems to have lost the smooth confidence of his youth, although he remains committed to actualizing his concept.

Farnsworth takes his turn to facilitate Mr. Sarnoff's journey from Russia to America, teaching himself un-accented English along way his way to the top of RCA. This point-counterpoint approach minimizes what might have been some dreary exposition, heightening the drama as the competition to be the first to have a successful prototype for television. In addition to Farnsworth, both RCA and Westinghouse were working on their own ideas to achieve what seemed at times, impossible. RCA bought Westinghouse out of the picture, but still couldn't get a working model. Fast forward through the death of Farnsworth's child amid some corporate espionage to fix the two approaches and the medium is officially born. Also born with it was a series of lawsuits which eventually grant the patent to RCA, leaving Farnsworth in relative ignominy.

Sorkin does give us a fictional account of an encounter between Farnsworth and Sarnoff following the verdict. He provides a moving moment when Sarnoff recognizes Farnsworth's achievement, offering him a job at RCA to continue his work. Bitter and defeated, Farnsworth rejects the offer. As man lands on the moon for the first time in 1969, Farnsworth is shown in a bar, basically drunk, outlining on cocktail napkins his concept to achieve nuclear fusion.

As David Sarnoff, Mr. Azaria confirms his skill and talent as a stage actor. His presence demands your attention in this role of a man born to lead, yet feels the sting of the pain his actions sometimes inflict. This Sarnoff grows slowly into corporate arrogance. As he says, "They say the end justifies the means. That's what the means are for."

Mr. Simpson's Farnsworth is a talented genius, flawed by his focus on his invention. Stumbling drunk, or painfully honest, he is a hero who is never properly recognized for his contribution during his lifetime. I did find the missing self-confidence displayed by his younger portrayal a bit confusing at first. Perhaps it was Mr. Sorkin's writing that effected such a change as the cost of a formal education in the period.

The supporting cast is terrific as well, each actor playing multiple roles. Standouts include Maurice Godin, Bruce McKenzie and Jim Ortleib.

Mr. McAnuff has once again proven his talent, directing this play with taste and restraint, bringing out fine performances from this large cast. I must admit that when he spoke to the audience just before curtain, I was a bit concerned. Only in their fourth preview at the time, he wanted the audience to be aware that the show was still undergoing some changes and there was a chance of a "train wreck" which might stop the show. I didn't see the first moment's hesitation by anyone in the cast.

Klara Zieglerova's sets ring familiar from her efforts on "Jersey Boys" with a two-level set, exposed steel beams in black and red, nicely lit by the efforts of Howell Binkley. David Woolard's period-appropriate costumes are spot-on.

I think we have the first best play contender of the season with this production.

Perfect Form(ula), Bitter Outcome

"Deuce" at the Music Box Theatre, April 24, 2007

It has all the pieces one needs for a smash. Two award-winning leading actresses, an award-winning director and an award-winning author with 11 Tony wins, 11 Tony nominations, 10 Drama Desk Awards, 14 Drama Desk nominations. How could it go wrong?

Sadly, and much to the pain of theatrical producers, there is no formula to stage a hit on Broadway. The producers of "Deuce" certainly had the right parts of what successful shows have.

Sadly, too, there is no hit here.

Mr. McNally, who has displayed such brilliance in the past with the books for the musicals "Ragtime" and "Kiss of the Spider Woman" and the plays "Master Class" and "Love, Valour, Compassion" seems to have phoned this one in. Even his "Some Men" currently running at Second Stages is stronger than this effort. His tale of former tennis doubles partners meeting for what may be the last time in their lives never rises above mildly amusing and occasionally descends into cheap jokes and bathroom humor. He pulls from his regular bag of tricks, expository monologues in the middle of the action from featured characters, asides and observations from peripheral characters, as well as a pair of inane commentators.

Sometimes a particularly talented cast can keep a play from collapsing from its lack of structure. Angela Lansbury and Marian Seldes would certainly seem to be two actors up to that task, and yet, they both display their own weaknesses. At the top of that list is stumbling over lines. This was my first opportunity to have seen either of these fine actors in a live performance. There has been a certain amount of buzz about the problems with the show. I was hopeful that by the time I attended that many of this issues would be solved.

They weren't.

And sadder still, most of the negative buzz referred to Ms. Lansbury's missing lines while Ms. Seldes was steadfast holding up her side of the show, supporting Ms. Lansbury as best she could. Tonight it was Ms. Seldes that missed the first of many of her own lines. Ms. Lansbury matched her in that category. When one is pulling so hard for performers to do well, it can be difficult to observe characterization. A weak script does little to help.

There is a line near the end of the play which has been mentioned in several other blogs. "We shall not see the likes of these two again." (paraphrased) It was very obviously a larger statement about the two women than just an observation of the two characters. And, he's right.

Horizontal for 2.5 Hours

"The Vertical Hour" at the Music Box Theatre, November 29, 2006

Sam Mendes has brought David Hare's new play to New York. With it is an impressive performance by an actor who has demonstrated quite an impressive range of skills in many varying film roles over the past few years.

It's unfortunate that the sentence above does not describe Julianna Moore.

Mr. Hare's diatribe on US activities from Bosnia (basically none) to Iraq (overthrowing a sitting government) is the plot contrivance employed for what little plot he presents. Nadia Blye (Ms. Moore) is an instructor at Yale on the topic of political studies, following an early career as a war correspondent during the events in Bosnia following the fall of Yugoslavia. She is now engaged to Phillip (Andrew Scott), a physical therapist and British ex-pat, who has taken her to Wales to meet his father, Oliver (Bill Nighy). Oliver, a doctor, who has a cordial but strained relationship with his son, is intrigued by Nadia, but finds it necessary to challenge her belief structure.

The play opens with Ms. Moore counseling Dennis (Dan Bittner), a student who has turned in a less than acceptable essay, which evolves into his confession of love for her. He uses his three weeks of studying Freud to justify his behavior and his belief that "underneath" she has encouraged this from him. She quickly discounts any value in psychology, to which he replies "...[people of the world] know that reality is real, that it exists, but what they think of it is more important." Her response "are you talking about Americans?" Mr. Hare accurately points out that news is no longer the reporting of events, but of the reactions by those involved or not.

This topic surfaces again during a discussion with Mr. Nighy in the next scene. She had been summoned to visit the White House over circumstances in Irag. A proud American, she reported for duty and shared her opinions with the president. Mr. Nighy's Oliver responds "If the Prime Minister called me, I'd let the phone ring." Another pithy observation from Oliver when Nadia talks about America's responsibility to the rest of the world, "Don't forget. You're building an empire, we (Great Britain) just dismantled one."

The other plot in play is the competition between Phillip and Oliver. Phillip felt torn in his parents' loveless marriage, playing the peacekeeper until events finally drove them to separate. He sees Oliver as an unrepentant philanderer and a phony. He suspects Oliver will attempt to seduce Nadia, but despite these faults he goes through the motions in hopes of healing his emotional wounds.

Mr. Nighy's Oliver is an awkwardly charming man, smoothly uncomfortable in his own skin. His presence and performance are organic and real. It is this reality that brings the audience to care for him in spite of his faults and past misdeeds. He is the doctor Oliver defines as "someone who tells you the truth and stays till the end."

Mr. Scott is warm and needy as the son who has spent most of his life trying to differentiate himself from his father. His Phillip loves the silence that so unnerves Oliver, leaves Britain to live in the US and chooses a career as a physical therapist with multiple locations of wellness centers which include massage and personal training. He feels most successful when his father learns that his patients "...pay someone to send them out for a jog," a most ignoble use of one's time as a health professional. He wants to be calm, warm and safe. This is the man Nadia thinks she's looking for.

Alas, it is Ms. Moore who is out of her element here. She has proven herself a talented film actress, having moved from daytime television serials playing twin sisters (or was it half? cousins?) separated at birth and being kidnapped by a fiance who was secretly in love with her aunt on As the World Turns (unmentioned in her bio, BTW) to moving portrayals in the films Safe, The Hours, and End of the Affair. I had high hopes for her skills on stage. Her technical ability to merely project her lines seems to be her biggest weakness. Beyond that, when she says at a critical moment, "I've seen the results of western indifference" describing the genocide that went on in Bosnia, she's not believable. She speaks with neither the passion nor the numbed indifference of one emotionally beaten down by the events she describes. I won't blubber like Ben Brantley did over Ms. Roberts earlier this year, but she is quite beautiful onstage.

It appears that Mr. Mendes is the one who let her down here. There seems to be no assistance provided to her in interpreting her role with a spectrum of how real people speak, how painful memories can choke, how tension can stifle one's speech pattern. Though not to that extreme, some of her deliveries sounded reminded me of the porn film scenes from Boogie Nights. She does give an emotional outpouring during a cathartic moment with Mr. Nighy, but by then it's too little too late. Waterworks are an easy skill to summon from an actor's bag of tricks.

Mr. Hare, too, may share some of the blame. Nadia's character arc is telegraphed pretty openly from the first scene, and ends with no surprise in her "surprise" announcement in the final line of the play. Her references to psychological motives in the final scene don't ring true having discounted them so specifically in the opening scene. Nadia's issues are many, but none are really resolved during the course of the play, only exposed.

Scott Pask's sets, using a cinematic black aperture to reveal first Nadia's jewel-box, paneled, ivy-league office open to reveal a stoic oak on the lawn of Oliver's self-imposed, lonely residence of exile. The mismatch of tables and chairs on this lawn evoked the edwardian eclecticism of rural Wales, although it appeared a bit forced.

When Ms. Moore appeared in the first scene in a brown dress that faded her (and her red hair , believe it or not) into the wookwork of her office, I was hoping for some interesting costuming choices. I wish that Ann Roth had provided some.

It's an interesting play and Mr. Nighy is certainly well-worth seeing. I hope that Ms. Moore will try Broadway again in a role that suits her skills better.

Here's what Ben Brantley had to say in the NY Times. I'm unsure what show Clive Barnes saw, as reported here in the NY Post.