There are many plays that are worthy of reviving. There are even some plays that are worthy of reviving more than once. There are very few plays that are worth reviving five times in only 63 years. Arthur Millers Death of a Salesman is one of those rare plays that no matter how many times it is done on Broadway, audiences still seem to flock to the theater.
Part of the reason for their current flocking is the unparalleled cast assembled to inhabit the humble Brooklyn dwellings of the Lohman clan. The other, of course, is Arthur Millers wonderful play which, to modern audiences may seem dated in it's language and subject, is truly universal in it's themes.
The heart of Death of a Salesman lies in The American Dream, that which is described as "life, liberty, and the pursuit of happiness". Willy Lohman, a traveling salesmen, has been working his entire life to achieve this American Dream, and finds that at this stage of his life, he has very little to show for it. It is the want of most parents to create a better life for their children than they experienced. It is the want of most husbands to provide for their wives a decent home and a few comforts. Willy Lohman feels he has failed on all accounts.
This is the plight of many an American Citizen living amongst us today. We are constantly berated with messages of what it means to "have it good" in America. We are oppressed by our bosses, our government, and various financial obligations vying for a piece of our proverbial pie. We are all faced with that most basic of questions, "What's the point?".
In the role of Willy Lohman, Phillip Seymour Hoffman is giving a master class of a performance. Though he is at least 15 years too young to play the role, it hardly matters. This is the stuff of theatrical legend being created on the stage of the Barrymore Theater.
He is equally matched by Andrew Garfield as favorite son Biff, Linda Emond as faithful wife Linda, and Finn Wittrock as Happy. Linda Emond as Linda Lohman brings the perfect mixture of a faithful wife who longs to see her husband happy, coupled with a woman who has been on the sidelines of her husbands life and hasn't been able to live much of her own. As Biff, Garfield may at first seem to small of frame to be portraying a former football player, but soon displays a talent so large you forget how small of stature he may in fact be.
The rest of the cast, including John Glover as Ben, Bill camp as Charley, and Fran Kranz as Bernard are all equally wonderful in their roles. Mike Nichols direction is superb. His choice to recreate the original Broadway set designs by Jo Mielziner is a huge asset to the production. Mr. Nichols guides his cast perfectly though Arthur Millers minefields, though no character seems to come out unscathed.
The current revival of Death of a Salesman is currently booking through June 2nd. Due to the high demand of certain cast members, an extension is unlikely so make sure you see it while you can. There are $30 rush seats given out on the day of performance for those patrons under 30 years old. Get there at least 90 minutes before the box office opens if you want one of these tickets as the line forms early. However you see it, be sure not to miss it. To quote Linda Lohman, "Attention Must be Paid".
Thursday, April 26, 2012
Thursday, April 19, 2012
Wit
There are some plays that stick with you long after you have left the theater. They ruminate in your mind and leave an indelible impression on your heart and soul. Margarete Edison's Pulitzer prize (and many other award) winning Wit is just such a play. Just as there are plays that endure, there are performances. Cynthia Nixon (Tony winner for Rabbit Hole, and Miranda on Sex and the city) gave one such a performance in the role of Vivian Bearing PhD.
As Dr. Bearing, Ms. Nixon often addresses the audience directly. From the start of the play she makes no bones about telling you that she is going to die, and that it will not be pleasant. It is this earnest frankness, and that analytical approach to examining the process of her own death, and subsequently life, which propels the play forward.
Cynthia Nixon delivers each scene with exceptional power and grace. Her ability to navigate the different points of Vivian Bearings life, from her time as a professor of literature, to her early childhood, to her time as a student of literature, is astounding. Her costume never changes. She is always clad in hospital gown and baseball cap (to hide her bald head). Yet you would swear you see her at each specific stage of her life.
The rest of the cast is fine, though they more often than not fade into the background. Greg Keller as Dr Jason Posner fares best against Nixon as the impersonal, and possibly unethical fellow studying her case. Carra Patterson as Suzie, the nurse who befriends and ultimately stands up for Vivian Bearing comes off as weak. The rest of the cast is fine.
The set design by Santo Loquasto is simple yet effective, being able to transform between a hospital room, a college lecture hall, an professors office, and Vivian's child hood living room with a simple turn of a white panel. Peter Kaczorowski's lighting design is similar in it's simplicity and equal in it's utter brilliance of being able to transform the stage by emitting soft pools of light, and darkness when needed. Lynn Meadows direction is flawless.
Wit ended it's first (limited) Broadway run at Manhattan Theater Clubs Samuel Friedman Theater on March 17th 2012. Expect Nixon (and quite possibly the production, and Lynn Meadows direction) to be nominated for a Tony award on May 1st.
As Dr. Bearing, Ms. Nixon often addresses the audience directly. From the start of the play she makes no bones about telling you that she is going to die, and that it will not be pleasant. It is this earnest frankness, and that analytical approach to examining the process of her own death, and subsequently life, which propels the play forward.
Cynthia Nixon delivers each scene with exceptional power and grace. Her ability to navigate the different points of Vivian Bearings life, from her time as a professor of literature, to her early childhood, to her time as a student of literature, is astounding. Her costume never changes. She is always clad in hospital gown and baseball cap (to hide her bald head). Yet you would swear you see her at each specific stage of her life.
The rest of the cast is fine, though they more often than not fade into the background. Greg Keller as Dr Jason Posner fares best against Nixon as the impersonal, and possibly unethical fellow studying her case. Carra Patterson as Suzie, the nurse who befriends and ultimately stands up for Vivian Bearing comes off as weak. The rest of the cast is fine.
The set design by Santo Loquasto is simple yet effective, being able to transform between a hospital room, a college lecture hall, an professors office, and Vivian's child hood living room with a simple turn of a white panel. Peter Kaczorowski's lighting design is similar in it's simplicity and equal in it's utter brilliance of being able to transform the stage by emitting soft pools of light, and darkness when needed. Lynn Meadows direction is flawless.
Wit ended it's first (limited) Broadway run at Manhattan Theater Clubs Samuel Friedman Theater on March 17th 2012. Expect Nixon (and quite possibly the production, and Lynn Meadows direction) to be nominated for a Tony award on May 1st.
Wednesday, April 11, 2012
Godspell
Prepare ye, the way of the lord! These are the familiar opening refrains of Stephen Schwartz's seminar musical theater classic Godspell. The show done by many a high school, college, community theater, regional theater, and church group. It's filled with toe tapping music that can't help but sticking in your brain. The classic show is currently getting a revival for our current times over at The Circle in the Square Theater, and all I have to say is bless the Lord my soul!
I was very wary going into the theater because (having played Jesus in an aforementioned community theater production a number of years ago) I somewhat understand the essence of what makes Godspell enjoyable for audiences (other than the great songs). It's a camaraderie between the actors and the audience. Godspell is a show that has always thrived on the creativity of it's actors. There is many a place for improvisation and ad libbing. Too often, the audience is excluded from the joke while the performers seem to be having a great time of themselves.
Happily I report this is not the case with the current Godspell. From the opening (which I have never seen performed before now) which brings new clarity to the piece, you can tell you are for something exciting. Each and every actor brings something fresh and exciting to the table.
Lead by Hunter Foster (from Weeds) as Jesus, we are presented with an energetic bunch of young people with an exuberance befitting the piece as well as this particular production. Gone are the harlequin face paint and superman shirts of old (though a slight homage is made) and in comes a Jesus that is everything you would want him to be.
Oh Bless the Lord My soul, By my side, and Beautiful City are particular standouts in this production, though every musical number is absolutely fantastic in my opinion. The book scenes are also extremely well done. Uzo Akuba is particularly wonderful in all of her scenes as is Lindsay Mendez. The only weak link for me was Judas, He seemed to be overindulging himself with the score and I didn't find anything special in his scenes either.
The set, costumes, lighting, and special effects are also brilliant. Now, some purists may think that part of what made Godspell special was it's simplicity. I understand that. But we can't just keep doing shows the way they were originally done every time we do them. We need to bring fresh perspective to them otherwise they become redundant.
This Godspell has new, fresh orchestrations that make almost every song ready for the radio (as did the original production at the time). Do not miss this production! Hunter Parish leaves on April 14th to film the 8th season of WEEDS, but the show continues on with Corbin Blue. Tickets are currently on sale through January of 2013.
I was very wary going into the theater because (having played Jesus in an aforementioned community theater production a number of years ago) I somewhat understand the essence of what makes Godspell enjoyable for audiences (other than the great songs). It's a camaraderie between the actors and the audience. Godspell is a show that has always thrived on the creativity of it's actors. There is many a place for improvisation and ad libbing. Too often, the audience is excluded from the joke while the performers seem to be having a great time of themselves.
Happily I report this is not the case with the current Godspell. From the opening (which I have never seen performed before now) which brings new clarity to the piece, you can tell you are for something exciting. Each and every actor brings something fresh and exciting to the table.
Lead by Hunter Foster (from Weeds) as Jesus, we are presented with an energetic bunch of young people with an exuberance befitting the piece as well as this particular production. Gone are the harlequin face paint and superman shirts of old (though a slight homage is made) and in comes a Jesus that is everything you would want him to be.
Oh Bless the Lord My soul, By my side, and Beautiful City are particular standouts in this production, though every musical number is absolutely fantastic in my opinion. The book scenes are also extremely well done. Uzo Akuba is particularly wonderful in all of her scenes as is Lindsay Mendez. The only weak link for me was Judas, He seemed to be overindulging himself with the score and I didn't find anything special in his scenes either.
The set, costumes, lighting, and special effects are also brilliant. Now, some purists may think that part of what made Godspell special was it's simplicity. I understand that. But we can't just keep doing shows the way they were originally done every time we do them. We need to bring fresh perspective to them otherwise they become redundant.
This Godspell has new, fresh orchestrations that make almost every song ready for the radio (as did the original production at the time). Do not miss this production! Hunter Parish leaves on April 14th to film the 8th season of WEEDS, but the show continues on with Corbin Blue. Tickets are currently on sale through January of 2013.
Wednesday, April 4, 2012
The (extremely long) Road to Mecca
I can see the appeal of this Athol Fugard play. The subject matter is quite interesting, and on the page I'm sure it's literary value is apparent. In this Roundabout Theater Production helmed by director Gordon Edelstein it is nearly unbearable to sit through.
Roundabout bills the play as such: In a desolate stretch of the Karoo Desert in South Africa, an elderly woman has turned her home into a highly personal work of art. The townspeople are threatened by her eccentricity and want to send her to an old age home, but a younger woman, a kindred spirit, wants to save the woman and her home.
This is a three person play, but for the majority of the show it is a two person play. The two woman are Miss Helen (Rosemary Harris) the aging artist in question, and Elsa Barlow (Carla Gugino) a younger woman from the city who spent a number of years living with Miss Helen. The third person is that of Marius Byleveid (Jim Dale) the reverend who is attempting to remove Miss Helen from her home and bring her to a retirement house.
Miss Helen and Reverend Byleveid are Afrikaans, descendants of the dutch settlers of South Africa - an extremely religious sect at that. Elsa is a more modern woman, descending from the British. This plays an important part in their respective world views.
It's important to note that this play is based on an actual living (now dead) person, Miss Helen. Her story is very interesting and is brought to brilliant life by Rosemary Harris. The problem is in the direction which is very one dimensional and dry, and also the writing, which is basically a series of monologues that the characters deliver to one another.
Even when the third character enters (a breath of fresh air), most of the dialogue is monologues rather than conversational. The conversational dialogue is interesting and brightens up the play, as does Jim Dales serio-comic portrayal of Marius. Overall you just can't wait for them to finally reach the end of the road so you can get the hell out of the theater (several people left during intermission).
The set and costume design by Michael H. Yeargan and Susan Hilferty are spot on, particularly the set design which seeks to capture the spirit of the art of Miss Helen without being garish to the audience. I wonder what this production would have been like with better pacing and a director who knew how to move things along a little better and create interesting stage pictures rather than people just standing around talking.
This play closed on Broadway at The American Airlines Theater on March 4 2012. Don't expect to see it nominated for any Tonys.
Roundabout bills the play as such: In a desolate stretch of the Karoo Desert in South Africa, an elderly woman has turned her home into a highly personal work of art. The townspeople are threatened by her eccentricity and want to send her to an old age home, but a younger woman, a kindred spirit, wants to save the woman and her home.
This is a three person play, but for the majority of the show it is a two person play. The two woman are Miss Helen (Rosemary Harris) the aging artist in question, and Elsa Barlow (Carla Gugino) a younger woman from the city who spent a number of years living with Miss Helen. The third person is that of Marius Byleveid (Jim Dale) the reverend who is attempting to remove Miss Helen from her home and bring her to a retirement house.
Miss Helen and Reverend Byleveid are Afrikaans, descendants of the dutch settlers of South Africa - an extremely religious sect at that. Elsa is a more modern woman, descending from the British. This plays an important part in their respective world views.
It's important to note that this play is based on an actual living (now dead) person, Miss Helen. Her story is very interesting and is brought to brilliant life by Rosemary Harris. The problem is in the direction which is very one dimensional and dry, and also the writing, which is basically a series of monologues that the characters deliver to one another.
Even when the third character enters (a breath of fresh air), most of the dialogue is monologues rather than conversational. The conversational dialogue is interesting and brightens up the play, as does Jim Dales serio-comic portrayal of Marius. Overall you just can't wait for them to finally reach the end of the road so you can get the hell out of the theater (several people left during intermission).
The set and costume design by Michael H. Yeargan and Susan Hilferty are spot on, particularly the set design which seeks to capture the spirit of the art of Miss Helen without being garish to the audience. I wonder what this production would have been like with better pacing and a director who knew how to move things along a little better and create interesting stage pictures rather than people just standing around talking.
This play closed on Broadway at The American Airlines Theater on March 4 2012. Don't expect to see it nominated for any Tonys.
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