Scene: April '13
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Mary T. & Lizzy K.What? From the show website: "Writer-director Tazewell Thompson (dir. M. Butterfly, Yellowman) stitches together an insider's look at the unlikely friendship between First Lady Mary Todd Lincoln and her talented seamstress, the successful freed slave Elizabeth Keckly. As one woman’s skilled hands work overtime, creating the most beautiful garments of her career, the other's reality continues to slip ever further from her grasp. Old wounds and new recriminations explode in this riveting drama about loss, love and the importance of promises, both kept and broken. This world premiere drama is the first commission of Arena Stage’s American Presidents Project."
When? April '13 Where? Kogod Cradle/Arena Stage, Washington DC Why? It's a new play, I love this intimate theatre space at Arena, and the story sounds wonderful! Well? I found this to be a play with potential, some of which was realized, some not. It is an "imagined" work based on history, and I did learn some interesting things about the era and the Lincoln family from the show (I did not know that Mary T. Lincoln suffered from mental illness, for example). However, I'm not sure I really feel as if I experienced the "heart" of the friendship between Mary and Lizzy; the focus seemed more on Mary's madness. The highlight of the production for me was the performance of Joy Jones as Ivy, Lizzy's assistant. As the women tell the stories of their lives to each other, I was riveted by the lovely movement and cadence of Ivy's delivery of the devastating details. The character seems to be the most accessible of the three women, and Jones' talent helps the cause. Naomi Jacobson does a fine job with the demanding role of Mary, although the chemistry between her and Sameerah Luqmaan-Harris as Elizabeth Keckley just didn't seem to gel. Lizzy is a controlled, aloof woman from years of hardships, and in this actor's portrayal, it seemed difficult for the audience to warm to her, even at the end when circumstances would demand it. I really think that, with a bit more work, there's a fascinating story to be told in this play! |
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Hello Dolly!What? From the show website: "In the Tony-winning musical farce Hello, Dolly!, the cantankerous half-a-millionaire Horace Vandergelder hires matchmaker Dolly Levi to find him a wife. Dolly soon hatches a plan to woo and win Vandergelder’s hand herself, while simultaneously arranging romantic prospects for his niece, his clerks and two of Manhattan’s most eligible shop girls.
Jerry Herman’s memorable score and charming lyrics place the irresistibly mischievous Dolly center stage, making the role one of the most celebrated and high-spirited in musical theatre. Eric Schaeffer (Meet John Doe) returns to direct this enduring musical favorite in a co-production with Virginia’s Signature Theatre. Broadway veteran Nancy Opel makes her Ford’s Theatre debut as Dolly with Washington favorite Edward Gero in the role of Horace Vandergelder." When? April '13 Where? Ford's Theatre, Washington DC with Signature Theatre Company, Arlington VA Why? I can't remember when/if I've ever actually seen a professional production of this musical, and here it is from two DC theatres I love. Fun fact: "Dolly" is my mom's childhood nickname and we delighted in singing her the title song as we were growing up. Well? A delightful and charming production of a classic! This is an intentionally scaled-down perspective on the show, with a chamber-size orchestra and a much smaller cast in terms of the ensemble. However, the set is grand and cleverly used, so that it all seems cohesive in vision. It does not hurt that the cast is uniformly talented and appealing. Nancy Opel as Dolly is charismatic, of fine voice, and one of those actors that can elicit laughter with a mere withering glance to the left. The other standouts were the wonderful foursome of Gregory Maheu (Cornelius), Tracy Lynn Olivera (Irene), Lauren Williams (Minnie) and Zack Colonna (Barnaby), all familiar faces in the DC theatre community. I loved hearing the familiar songs performed so well, and of course Ford's Theatre is really a perfect setting for this show, given the era in which it's set! |
(photo courtesy of theatre website)
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The Assembled PartiesWhat? From the show website: "Tony® winner Richard Greenberg (Take Me Out, The American Plan) and MTC begin their 10th collaboration with the world-premiere production of THE ASSEMBLED PARTIES. MTC Artistic Director Lynne Meadow (Wit, Collected Stories) directs the stellar cast that includes Tony nominee Jessica Hecht (A View from the Bridge, Harvey), Tony and 2-time Emmy winner Judith Light (Other Desert Cities, Lombardi) and Tony nominee Jeremy Shamos (Glengarry Glen Ross, Clybourne Park). THE ASSEMBLED PARTIES welcomes us to the world of the Bascovs, an Upper West Side Jewish family in 1980. In a sprawling Central Park West apartment, former movie star Julie Bascov and her sister-in-law Faye bring their families together for their traditional holiday dinner. But tonight, things are not usual. A houseguest has joined the festivities for the first time and he unwittingly - or perhaps by design - insinuates himself into the family drama. Twenty years later, as 2001 approaches, the Bascovs' seemingly picture-perfect life may be about to crumble.
A stunning new play infused with humor, THE ASSEMBLED PARTIES is an incisive portrait of a family grasping for stability at the dawn of a new millennium." When? April ' 13 Where? Samuel J. Friedman Theatre Why? This cast! Judith Light (I loved her in "Other Desert Cities"), Jessica Hecht and Jeremy Shamos (this will be the third show in which I've seen him), are all marvelous actors, and a tale of a dysfunctional family event does seem to make for a fascinating play. Well? An intriguing story with fine performances had by all :). I loved the revolving set, and the weaving of the characters' stories. The greatest gift was watching Judith Light and Jessica Hecht, playing sisters-in-law, work magic in their scenes; both with each other and pretty much anyone else in the vicinity. Hecht's ethereal, almost musical delivery was captivating; and Light's perfect comedic timing and deft emotion is always a treat. The characters age between acts, and Hecht and Light are the most effective at playing the younger and older versions of their alter egos. The always wonderful Jeremy Shamos was perhaps a bit more believable as his older self, but I'm never sorry to see him on stage after loving his performances in Clybourne Park and Glengarry Glen Ross. Hecht, Light and Shamos are the true stars of this show, and worth the visit to see their chemistry. The story itself has some mystery to it, and I think that, even with paying very close attention to the second act, the storyline is still a bit obtuse. My take is that a bit more of the exposition belonged in the first act. That said, I thoroughly enjoyed these actors as storytellers, and could have happily listened to more of the tale. |
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All In The TimingWhat? From the show website: "Primary Stages is thrilled to present the 20th anniversary revival of David Ives's hilarious All in the Timing. When this evening of six one-act comedies premiered in 1993, Vincent Canby of The New York Times said "Ives is wizardly...magical and funny...a master of language." Canby also told audiences "Drop-everything-and-go!"--and audiences did, for more than 600 performances. This new production, directed by John Rando, includes plays like "Sure Thing" and "The Universal Language" which have become contemporary classics, and marks the show's first major revival in New York City since its original premiere."
When? April '13 Where? Primary Stages, 59E59 Why? I thought I was going to have to miss this one as it was ending before I could get back up to NYC. But fortuitously, it's been extended! Well? Absolutely delightful!! I felt as if I'd fallen down the rabbit hole in all the best ways. If you love word play and the intricacies of language, this is such a treat! Carson Elrod is remarkably talented, as evidenced by his hilarious performance in Peter and the Starcatcher, but this play was a perfect showcase for his talents. He has impeccable timing and a facility for words that is amazing to experience. The show is a collection of independent sketches mixing nonsense with profound humanity. Along with Carson, another Peter and the Starcatcher vet, Matt Saldivar, Jenn Harris, Liv Rooth and Eric Clem make a wonderful team. There is a rhythm and pulse to the words and movements that led me to audibly exclaim in delight, as the actors delivered the often rapid, always intricate lines in perfect sync with each other...like games of word ping pong in which neither player ever misses. Small set, small cast, BIG fun!! |
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The Testament of MaryWhat? From Playbill.com: "Jesus' mother, Mary, now elderly, talks to some of his followers about her famous son - a young man she didn't quite understand. Adapted from Colm Tóibin's novella. The one-woman show stars Fiona Shaw."
When? April '13 Where? The Walter Kerr Theatre Why? Talk about an intriguing premise! When a show I was intending to see ("Pump Boys and Dinettes") was canceled, I was left with the option of seeing something unexpected, and a friend who's meeting me in the city that day advocated for this and I was happy to agree. Well? There really are not words for the power of this performance and production. It is, in my opinion, the perfect example of why live theater has me in its thrall. You must be willing to check your preconceptions about religion at the door to the Walter Kerr Theatre. This is a work of performance and imagination in which the personage of Mary, mother of Jesus, relates her account of the last years of her son's life and how it impacted both of them. She is devastated, conflicted and, yes, bitter, at the loss of her child-the horror has left its mark. Fiona Shaw is a true master, and it's just her on stage telling us her painful story, confused and angry. I've never heard an audience stay so still and quiet for the 90 minutes. Colm Tóibín is the author, and Deborah Warner the director, and it's clear that the production is a true collaboration between author, director and actor first and foremost. But credit for the intensity and rich layers of the show must also be given to the creative team, in particular Tom Pye for the remarkable set, Jennifer Tipton (lighting), Mel Mercier (composer/sound) and Ann Roth (costumes). The people in my vicinity of the theater were all wowed. As were the fans at the stage door; a young and passionate crowd. I have certainly heard differing opinions, as with most shows. If you're interested in seeing the breadth of art that theater offers, this show is not to be missed. |
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F#%king Up EverythingWhat? From the show website: "F#%KING UP EVERYTHING is a rock musical comedy with heart. Set in today’s Brooklyn indie music scene, it is an old-fashioned boy-meets-girl love story for the 21st Century. When these hipsters aren’t true to who they are, they screw up everything. Especially love. And no one screws up more than children’s puppeteer Christian Mohammed Schwartzelberg when he meets singer-songwriter Juliana, the girl of his dreams."
When? April '13 Where? Elektra Theatre Why? George Salazar, an actor I loved from the recent Broadway production of "Godspell" is in this show and that's enough for me! :) Well? So, I was tragically late for this show and was so disappointed not to have the full experience. Therefore, I asked my friend, Lori, who did see the entire show to provide some insight for us. She describes it this way: "a "rock comedy" that is really a romantic little "boy meets girl" story. It's also the story of that time in everyone's life when it's ok to be confused, ambivalent and without a plan (so that would be roughly from college graduation to 30). The cast had great energy, and I really liked Max Crumm as Christian (a Jewish guy named Christian). He was very convincing as the nerdy, puppeteer who works kids parties for a living and has interesting puppets like Ralph Nader and Iggy Pop. It was really sort of a hipster, comedic soap opera." Of course, our main motivation for seeing the show was to see George Salazar as the "Drummer," and he was great! All in all, fun show! |
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PippinWhat? From the show website: "Everything has its season... and this season, PIPPIN returns to Broadway for the first time since it first thrilled audiences 40 years ago! With a beloved score by Tony Award® nominee STEPHEN SCHWARTZ (GODSPELL, WICKED) that includes the favorites "Magic to Do," "Glory" and "Corner of the Sky," PIPPIN tells the story of a young prince on a death-defying journey to find meaning in his existence. Will he choose a happy but simple life? Or will he risk everything for a singular flash of glory?
Direct from an acclaimed run at Boston's American Repertory Theater, PIPPIN is directed by DIANE PAULUS, director of the 2009 and 2012 Tony Award winners for Best Musical Revival (HAIR and THE GERSHWINS' PORGY AND BESS). This captivating production features sizzling choreography in the style of BOB FOSSE and breathtaking acrobatics by LES 7 DOIGTS DE LA MAIN, the creative force behind the nationwide sensation TRACES. Join us... for a magical, unforgettable new PIPPIN." When? April '13 Where? The Music Box Theatre Why? I saw this in Boston and loved it. It will be wonderful to see how it's evolved in its transition to Broadway. Well? I'm so happy to say that all of the promise of wonder and magic that this show offers has made the trip south to New York City! I felt as if I was seeing old friends when I caught glimpses of the graceful tricksters that make up the ensemble. The feats of derring-do have been refined and perfected; to say it's crowd-pleasing is a woeful understatement. The standouts in the cast remain Patina Miller as "Leading Player," Terrence Mann as Pippin's father, the king, and Andrea Martin as Pippin's grandmother. This role takes full advantage of Miller's lovely voice, impeccable dancing and naturally edgy demeanor. Meanwhile, Mann and Martin are master comedians, and need do no more than glance meaningfully at the audience to elicit gales of laughter. Matthew James Thomas is a lovely Pippin, and his critical chemistry with Rachel Bay Jones (Catherine) is poignantly believable. Theater-goers of a wide range of ages will love the circus tricks and choreography, and some of Stephen Schwartz's most beloved songs ("Magic to Do," "Corner of the Sky"). It's a show that will draw repeat visits; there's so much going on and you really don't want to miss a thing! Diane Paulus, the visionary director, has truly created a timeless version of Pippin, and the show, and the audience, are the better for her gift. |
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Here Lies LoveWhat? From the show website: "Within a pulsating dance club atmosphere, David Byrne and Fatboy Slim deconstruct the astonishing journey of Filipina First Lady Imelda Marcos retracing her meteoric rise from childhood to her subsequent descent into infamy and disgrace at the end of the People Power Revolution. HERE LIES LOVE is neither a period piece nor a biography, neither a play nor a traditional musical but a wholly immersive theatrical event combining songs influenced by four decades of dance music, adrenaline-fueled choreography, and a remarkable 360-degree scenic and video environment to go beyond Imelda’s near-mythic obsession with shoes and explore the true tragic consequences of power and responsibility.
HERE LIES LOVE is an 80-minute, fully immersive, 360-degree theatrical experience. Set within a dance club atmosphere, audiences will stand and move with the actors. Comfortable shoes and clothing are recommended. Dancing is encouraged. " When? April '13 Where? Public Theater Why? Did you read the description above? :) Well? Another time I feel words may not yet have been invented to capture the completely unique experience you'll have at this show! A whirlwind of music, dance, history, romance, intrigue, danger, humanity complete with movable platforms, stages on either end of the space and most of the audience standing, dancing and becoming part of the story. The actors were among us, shaking our hands as we form the crowd at a rally, adoring fans of Imelda, disgruntled populace, mourners at a funeral. The cast is uniformly wonderful, from leads to every single, energetic, talented ensemble member. Even the "ushers" are involved, gently moving us around the space as the action swirled; and dancing and singing along as well. The story of Imelda Marcos involves the whole of the Philippines, and the use of actual video and audio footage from that period as the constantly shifting "scenery" captures that perfectly. The music is wonderful, and seamlessly woven into the action. We wanted a cast recording as soon as we walked out of the theater! By the way, there are a limited number of seats above the floor, but I am so glad I trusted my instinct and went for the floor! Wear some comfortable shoes, leave your inhibitions at home and have a blast! |
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The Last Five YearsWhat? From the show website: "From first date to final good-bye, The Last Five Years chronicles the highs and lows of modern marriage in an intimate, honest and richly moving musical portrait.
Through the course of 14 songs, rising novelist Jamie and struggling actress Cathy separately tell their own account of their five-year relationship. From the whimsical optimism of Jamie’s “Shiksa Goddess” to Cathy’s crushingly vulnerable “Still Hurting,” the young lovers explore their emotionally complex romance through beautifully haunting music and original, ingenious lyrics. Directed by Washington’s own Aaron Posner, Jason Robert Brown’s (Parade, Songs for a New World) contemporary song cycle features an eclectic variety of music including pop, jazz, classical, folk and rock sung by Signature favorites James Gardiner (Chess, [title of show]) and Erin Weaver (Xanadu)." When? April '13 Where? Signature Theatre Company, Arlington VA Why? It is rare that I get to see the same show, performed by different companies within a month of each other. This will be particularly satisfying because the show is a two-person show, meaning it will rely a great deal on the actors. I'll be fascinated to see the contrasts! Well? This production had a much different energy than the one I saw in New York. There was a more ethereal quality in the persons of Betsy Wolfe and Adam Kantor in NYC; and a more grounded, raw feeling to the performances of Erin Weaver and James Gardiner at Signature. Each approach is satisfying in its own way. The reverse arcs of the characters' storytelling allows for so much creativity in the staging, and there was such whimsy and symbolism in the Signature set, with multiple clocks, cardboard boxes that became furniture and docks and receptacles, and an actual bed and actual desk, the two points of pain in the relationship. James Gardiner was an endearing, charismatic Jamie, and I thoroughly enjoyed getting to know a different, somewhat more accessible Jamie than the Jamie portrayed by Adam Kantor (who also gave a wonderful performance though). I probably related more to Betsy Wolfe's Cathy, than that of Erin Weaver, but the pairing of actors in each production was just right. And as often happens, I noticed details in the story that I had missed the first time, and discovered what aspects of the show had stayed with me over the month. One observation that I think is so important to keep in mind for every show I see, is how each audience member has a different experience of the show. I am always a little surprised to hear from friends that their favorite moment or song was one completely different than mine. We may have each loved the show, but we love it for different reasons, and that's why I know that the same show may speak loudly to me, whisper to the person next to me and remain completely silent to another. |
(photo courtesy of theatre website)
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American UtopiasWhat? From the show website: "Mike Daisey takes us all over the map to pursue the story: from Disney World and its nostalgic theme park perfection, to the drug-fueled anarchic excesses of Burning Man, to Zuccotti Park, where in the unlikeliest place the Occupy Wall Street movement was born. Gun-play, giant glittery dildos, raving animatronic presidents, and brutal police actions come together to paint the landscape of our new American dream. After record-breaking performances in New York, Chicago, and Boston, American Utopias returns to where it all began at Woolly Mammoth!"
When? April '13 Where? Woolly Mammoth Theatre Company, Washington DC Why? I was ambivalent about this one because of the issues with the previous work by Mike Daisey (my blog post of Mar 18 '12, "Sour Apple"), which I attended last year. However, he is definitely a talented writer and storyteller; and the great word of mouth, combined with an extension of the run and available ticket on Goldstar motivated my decision to see the show. Well? I was not disappointed. Daisey relates a series of three tales about his experiences with some uniquely American gatherings: The Burning Man festival, Walt Disney World and the Occupy tent city at Zuccotti Park in New York City. His first-person perspective is always entertaining, as he has a facility for introspection and a willingness to make fun of his own idiosyncrasies. The richly embroidered verbal portraits he paints of Burning Man, especially, were fascinating and compelling. The theatrical aspect of all three of these events and how they reflect the need for drama and escape in our lives is fascinating. But Daisey doesn't leave it there, he takes the notion of going outside of our comfort zones and engaging with life more deeply, by ending the performance on a street corner outside the theater with the audience gathered around. |
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OrphansWhat? From the show website: "Two orphaned brothers live in their decrepit North Philadelphia row house. They survive bypetty thievery and a steady diet of tuna fish and daytime television until the violent older brother decides to kidnap Harold (Baldwin), a notorious Chicago gangster. Harold soon becomes the force that will forever change their lives. Written by Lyle Kessler, directed by Daniel Sullivan(Glengarry Glen Ross) and featuring a critically acclaimed cast.
This spring, Alec Baldwin (Emmy® Award winner 30 Rock, Oscar® nominee The Cooler, Tony® nominee A Streetcar Named Desire) and Ben Foster (Emmy® and SAG Award winner) are joined by Tom Sturridge(Being Julia, Like Minds, The Boat That Rocked and On the Road) in Broadway's most talked about, darkly comic play." When? April '13 Where? Gerald Schoenfeld Theatre Why? This was not a first choice for me this season, and the casting was not a huge draw. But I decided it would be interesting to see two such well-known actors (Alec Baldwin and, at that time, Shia LaBeouf ) on stage. So Shia leaves the show two weeks before previews start and is replaced by Ben Foster, with whom I'm unfamiliar. I'll be interested to see what I think. Well? Unexpectedly moving, in large part thanks to the raw, vulnerable performance of Tom Sturridge as Philip, the mentally challenged younger brother to Ben Foster's cynical, angry criminal, Treat, who supports them. I thoroughly appreciated and enjoyed Alec Baldwin's avuncular gangster, Harold, who feels a paternalistic fondness for the young men, especially, Philip. The denouement of their relationship, and its impact on both boys played out in an emotional climax that I found satisfying and wrenching. |
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Thoroughly Modern MillieWhat? From the show website: "Thoroughly Modern Millie—winner of the Tony and Drama Desk awards for Best Musical—is an effervescent musical romp that will have you dancing the Charleston. It's the Roaring Twenties, and young Millie Dillmount has just arrived in New York City, a place filled with frisky flappers, dashing leading men, and a dragon lady of a villainess. Wonderfully funny with fabulous music and raise-your-eyebrows dance numbers, it's a perfectly shaped evening of madcap merriment."
When? April '13 Where? Paper Mill Playhouse, Millburn, NJ Why? One of my favorite movies and a show I've always wanted to see on stage. Had a great experience with Paper Mill for A Chorus Line, and am happy to return! Well? Laurie Veldheer completely won me over with her charming portrayal of Millie. She has a beautiful voice and the kind of twinkle in her eye that can be seen from the farthest reaches of the theater! The ensemble was particularly strong; an important element in this music/dance extravaganza. I also really enjoyed Brenda Braxton as Muzzy, and Jeff Kready as Jimmy. |
(photo courtesy of show website)
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The NanceWhat? From the show website: "In the world of 1930’s burlesque, a nance was a wildly popular character, a stereotypically camp homosexual man, most times played by a straight performer. In The Nance, playwright Douglas Carter Beane tells the story of Chauncey Miles (to be played by Nathan Lane), a headline nance performer in New York burlesque, who also happens to be a homosexual. Integrating burlesque sketches into his drama, Beane paints, with humor and pathos, the portrait of a homosexual man, living and working in the secretive and dangerous gay world of 1930’s New York, whose outrageous antics on the burlesque stage stand in marked contrast to his messy offstage life."
When? April '13 Where? Lyceum Theatre Why? When I see Nathan Lane's name on a production, I'm generally first in line for tickets. I've seen on stage him three times prior to this (some better than others :)), and am thrilled to see him work with Douglas Carter Beane's book. Well? Douglas Carter Beane never seems to skimp on the storylines in his books. There's a lot going on in this show: a love (or not) story between the often confounding Chauncey, and the young man he initially encounters as a one-night stand, but who has other ideas about their future together. There's a great deal of tenderness in the idealistic love that Ned offers Chauncey, and the painful reality of their situation in the world outside Chauncey's home where homophobia is rampant, and internalized, among the gay circles of which Chauncey is a part. The rotating/shifting set was intricate and evocative, and perfectly showcased the interplay between the onstage antics of the burlesque performers, and the risk involved when burlesque clashes with the "morals" enforcement of the time. We see the performers on and off stage; with the baudy silliness of their acts increasingly difficult to maintain as the theaters close and the work dries up. Chauncey's struggle to leave behind the life of anonymous sex devoid of emotion, all he's ever known, is achingly evident in Nathan Lane's performance, and he has touching chemistry with Jonny Orsini's Ned. Lewis Stadlen, Cady Huffman, Jenni Barber and Andrea Burns as the other burlesque performers were great, but to me, the compelling part of this show is the Chauncey/Ned journey. |
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Tally's FollyWhat? From the show website: "Lanford Wilson's Pulitzer Prize-winning comedy Talley’s Folly returns in a joyful and moving new production starring Tony Award® nominee Danny Burstein (Golden Boy, Follies) and Emmy® and Golden Globe® nominee Sarah Paulson (“American Horror Story,” Roundabout’s Crimes of the Heart).
At the end of World War II, Matt Friedman, a Jewish immigrant who has spent his life keeping others at a distance, returns to the small town where he first met Sally Talley. Nothing like her conservative Protestant family and neighbors, Sally is a nurse with deep misgivings about the country’s future. After a lifetime of believing they’ll never truly belong in the world around them, Matt has worked up the courage to ask Sally for her hand, and convince her that they do belong—together. Michael Wilson (The Best Man, Roundabout’s The Milk Train Doesn’t Stop Here Anymore) directs this funny and heart-warming play about finding love when you stopped looking." When? April '13 Where? The Laura Pels Theatre Why? I chose this as one of the shows to include in my subscription to Roundabout because I always enjoy Danny Burstein, and have never had the chance to see Sarah Paulson on stage. Well? This was definitely Danny Burstein's show. I so love small, intimate stagings, and the set design for this was perfect. The worn and battered lakeside cottage, with a door leading to an unseen, but menacing family waiting up the hill; and the promise of the persistence of the water gently lapping at the pier, suggested the opposing forces in the relationship between the fiercely closed and frightened Sally, and the undeterred hope of Matt. Matt feels he has nothing to lose and everything to gain in laying himself bare for his love of Sally, and we rooted for Matt every step. Each time Sally goes for the door, we believe that Burstein's Matt will convince her to stay. This was a gently powerful story told by two talented actors, and I am glad I was in the audience. |
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Buyer and CellarWhat? From the show website: "Alex More has a story to tell. A struggling actor in L.A., Alex takes a job working in the Malibu basement of a beloved megastar. One day, the Lady Herself comes downstairs to play. It feels like real bonding in the basement, but will their relationship ever make it upstairs?
Buyer & Cellar is an outrageous comedy about the price of fame, the cost of things, and the oddest of odd jobs." When? April '13 Where? The Rattlestick Theatre Company Why? I subscribed to Rattlestick this season, and finding out that Michael Urie was in this play was a bonus! I saw him in "The Temperamentals" several years ago and was so impressed! Well? An imagined, amusing story about Barbra Streisand's basement storage area (as described in her real-life design book about her home), and an unemployed actor who is hired to staff it as if it were a collection of boutiques at which Ms. Streisand would "shop," is winsome and warm. Michael Urie is possessed of an appealing onstage persona, and portrays 4 different characters at various points during the show. The small stage and minimal set is the perfect setting for this subterranean tale; and allows the focus to be on the humanity and humor of the interactions between Streisand and Alex, the "shopkeeper." Great fun all around! |
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The Trip to BountifulWhat? From the show website: "THE TRIP TO BOUNTIFUL follows Carrie Watts (Tyson), a active, highly motivated widow living in a cramped apartment in Houston in the Spring of 1953 with her son (Cuba Gooding Jr.) and daughter-in-law (Vanessa Williams) . Carrie escapes her relatives’ watchful eyes to realize her dearest dream: to return to her beloved hometown, Bountiful. What starts as an ordinary trip soon becomes an inspiring and life-changing journey of discovery.
THE TRIP TO BOUNTIFUL is Horton Foote’s masterpiece about memory, mortality and the undeniable, universal yearning for home. You won’t want to miss this powerful show The Cleveland Plain Dealer calls, “A gorgeous, great play. American theater at its most engaging.” When? April '13 Where? Stephen Sondheim Theatre Why? I nearly started hyperventilating when I saw that Cicely Tyson would be on stage again after 30 years! She is a legend in the category of Angela Lansbury for me; I have loved her since being awed at "The Autobiography of Miss Jane Pittman" so many years ago. It also does not hurt that Vanessa Williams and Condola Rashad (who I loved in last season's "Stick Fly") are in the cast :). Well? It truly was an honor to witness Cicely Tyson's performance. At 79 years young and quite diminutive, she commanded the stage in every scene; even those in which she didn't speak a word. Her chemistry with each and every other actor was palpable. Vanessa Williams was her patronizing, dismissive daughter-in-law, and did a great job with an extremely unlikeable character, as evidenced by the resounding curtain call applause she received. But somehow we always knew that Tyson's "Mother Watts" would wind up on top. I also loved the sweetness between Cuba Gooding, Jr. and Cicely Tyson. He did not overplay the already-high emotion, and gave a wisely understated performance. And I can't say enough about Condola Rashad. She made us desperately hope that she wouldn't get on the bus that would take her away from Mrs. Watts. One treat to this play is the weaving together of multiple stories, each of which I found compelling, no matter how small. While we only see Condola's character for a few scenes, I wanted to know more about her. But it was a real testament when the audience was brought to audible gasps of sadness at the death of a character who is only mentioned, but never seen. |
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I'll Eat You Last: A Chat with Sue MengersWhat? From the show website: "One of Broadway's biggest stars is back — as one of Hollywood's biggest star-makers! BETTE MIDLER returns to Broadway as the legendary Hollywood superagent in I'LL EAT YOU LAST: A Chat with Sue Mengers.
For over 20 years, Sue's clients were the talk of the town and her dinner parties were the envy of Hollywood. And this spring, you're invited to her glamorous Beverly Hills home for an evening of dish, dirty secrets and all the inside showbiz details only Sue could tell you about … and only Bette Midler could tell you on Broadway. Don't miss this new one-woman play written by Tony Award® winner and three-time Academy Award® nominee, John Logan and directed by two-time Tony Award® winner Joe Mantello." When? April '13 Where? Booth Theatre Why? Bette Midler, and the kind of storytelling I love. Well? There is sufficient entertainment just in the real-life stories that made up the life of Sue Mengers, that to add Bette Midler as the storyteller is an embarrassment of riches. I had no trouble imagining and accepting her as the Hollywood super agent of the 60s, 70s and 80s, whose clients included Ali McGraw, Barbra Streisand, Gene Hackman and many more. This solo show is very much about timing, and well-placed restraint, both of which Bette Midler has mastered. The pathos of Sue's telling of her childhood, and the empathy for her clients, and grasp of human behavior revealed when she "teaches" us how to be a successful agent, make her relatable and entertaining despite the brash, outrageous and calculating professional shell. I ended up seeing the show twice as it turned out, and enjoyed it equally from high up in the mezzanine and in the fourth row of the orchestra; high praise for Bette Midler's talents! |
