There seems to be a trend in the theater right now of taking classical literature or plays and adapting them into "new" works for modern audiences. This has been done with this seasons Tony winning Venus in Fur, and the play in question One Man, Two Guvnors. Think of it as the theatrical equivalent of "10 Things I Hate About You" or "She's the Man".
One Man, Two Guvnors comes to us courtesy of The National Theater in Great Brittan. It is adapted by Richard Bean from the classic 1743 comedy The Servant of Two Masters. In it, the permanently ravenous Francis Henshall finds himself working for both a gangster and a criminal in hiding, both of whom are linked in a web of schemes, extortions and romantic associations. To prevent discovery, Francis must do everything he can to keep his two guvnors apart. For the uninitiated "Govnor" is a British word meaning employer.
One Man has it's roots in the old Italian style of Commedia Dell'Arte, a low brow style marked by improvisation and musical interludes. In Commedia Dell'Arte, nothing was ever written down. Companies of actors would just do whatever happened, and audiences loved it. The Servant of Two Masters. One was of the very first of these types of plays to be written down and scripted, and it survives to this day.
The sound in the theater isn't very good for some reason, and due to the cockney accents a lot of the dialogue is lost at the beginning of the play while your ear gets used to translating. Once you get used to it though, the play is very funny. You get the feeling that what is written on the page may not be half as funny as the way the actors are presenting it.
As Francis Henshall, Tony Award winner James Corden steels the show from the very moment he steps foot on the stage, and he never gives it back. His comedic timing and delivery are impeccable. You immediately fall in love with him and root for him for the entire performance.
He is joined by Jemima Rooper as Jasper and Oliver Chris as Stanley, who are equally adept in their comic abilities. The entire cast spends the show playing for laughs and working very hard to get them. In the role of Alfie, a man in his 80's who has had a stroke and needs a pace maker, Tom Edden chews the scenery in a Tony nominated performance that nearly pries the moment away from James Corden.
These folks are a team, and no one performance would be the same without one of these people on stage. You get the sense of a very rehearsed improve group giving you a unique experience that will never be repeated. Nicholas Hytner has done a wonderful job directing, and the physical comedy bits have been expertly staged by Cal McCrystal (who also works with Sacha Baron Cohen).
The physical elements of the production are also perfect. The English music hall inspired set and costume design by Mark Thompson perfectly execute their function as well as being fun and whimsical. They aide in the comedy and the story telling rather than just being there.
And mention must be made of the wonderful songs composed by Grant Olding, and played by the onstage band "The Craze". The music is an English style called Skiffle, which has roots in blues in country, but is early 60's style British rock music. The Craze plays the audiences to their seats, and occasionally joins the actors on stage during the show. Even though they never speak a line of dialogue they feel like an integral part of the play.
One Man, Two Guvnors plays on Broadway at The Music Box Theater until Sunday September 2nd. There are $35 general rush tickets available at the box office on the day of the performance. If you intend to get one of these tickets, you should be to the box office at least one hour before the theater opens. The show is also frequently on the TKTS board.
Tuesday, August 14, 2012
Saturday, August 11, 2012
End of the Rainbow
For those who are lucky, once in a while a show will come along that has the ability to transport you out of your seat in the theater and bring you right into the room of the action. End of The Rainbow is one of those plays. Peter Quiller has constructed a masterpiece that recounts Judy Garlands final London concert series just months before her untimely death.
There is no doubt that the star of this wonderful play is the brilliant performance of Tracie Bennett as Judy Garland. Some may say that she doesn't exactly do the most wonderful impersonation of Judy Garland, and I would tend to agree with them. You may find someone who looks more like her, or does her voice better, but we're talking about the full and complete package. There isn't a moment that you don't forget you're not actually watching Judy Garland in her final months of life.
End of the Rainbow takes place over the course of the five week engagement of what was supposed to have been Judy Garland's comeback tour, which was entitled Talk of the Town. Most of the action takes place in her London hotel suite. At her side is Mickey Deans, her charismatic young lover and caretaker, and new manager. Also on hand is her pianist and old friend Anthony. Through the course of the play we are given a window into what the private struggle for Judy may have been like, and it is both breath taking and tear inducing.
Tracie Bennett does all of her own singing through out the entire evening. The songs are used poignantly to comment on and enhance the action. The show is not a musical, though it does have about 5 or 6 songs sung both at rehearsal in her hotel suite, and on stage at the theater backed by a live band.
Ms. Bennett is joined onstage by Michael Cumpsty as Anthony, her confidant, and the one man who may have been able to save her life had she been willing to let him. Tom Pelphry is passable as Mickey Deans though he doesn't really have the range to match Bennett. In a series of smaller roles Jay Russel does exactly what he needs to do.
The opulent set and costumes by William Dudley is used to wonderful effect through the course of the night. Terry Johnson's direction is absolutely superb. The lighting is serviceable if not magical. There are some beautifully lit moments but for the most part it's merely functional.
People, I kid you not when I tell you that this show, this performance in this show, is the kind of performance that in 20 years or so is going to be the answer to the question "If you could go back in time and catch any performance on Broadway what would it be".
End of the Rainbow plays on Broadway at The Belasco Theater until Sunday August 19th. There are $30 rush tickets available to anyone the day of the show. Go and get one, and be one of the people who gets to say they saw the performance of a lifetime. You will not be disappointed.
There is no doubt that the star of this wonderful play is the brilliant performance of Tracie Bennett as Judy Garland. Some may say that she doesn't exactly do the most wonderful impersonation of Judy Garland, and I would tend to agree with them. You may find someone who looks more like her, or does her voice better, but we're talking about the full and complete package. There isn't a moment that you don't forget you're not actually watching Judy Garland in her final months of life.
End of the Rainbow takes place over the course of the five week engagement of what was supposed to have been Judy Garland's comeback tour, which was entitled Talk of the Town. Most of the action takes place in her London hotel suite. At her side is Mickey Deans, her charismatic young lover and caretaker, and new manager. Also on hand is her pianist and old friend Anthony. Through the course of the play we are given a window into what the private struggle for Judy may have been like, and it is both breath taking and tear inducing.
Tracie Bennett does all of her own singing through out the entire evening. The songs are used poignantly to comment on and enhance the action. The show is not a musical, though it does have about 5 or 6 songs sung both at rehearsal in her hotel suite, and on stage at the theater backed by a live band.
Ms. Bennett is joined onstage by Michael Cumpsty as Anthony, her confidant, and the one man who may have been able to save her life had she been willing to let him. Tom Pelphry is passable as Mickey Deans though he doesn't really have the range to match Bennett. In a series of smaller roles Jay Russel does exactly what he needs to do.
The opulent set and costumes by William Dudley is used to wonderful effect through the course of the night. Terry Johnson's direction is absolutely superb. The lighting is serviceable if not magical. There are some beautifully lit moments but for the most part it's merely functional.
People, I kid you not when I tell you that this show, this performance in this show, is the kind of performance that in 20 years or so is going to be the answer to the question "If you could go back in time and catch any performance on Broadway what would it be".
End of the Rainbow plays on Broadway at The Belasco Theater until Sunday August 19th. There are $30 rush tickets available to anyone the day of the show. Go and get one, and be one of the people who gets to say they saw the performance of a lifetime. You will not be disappointed.
Wednesday, August 8, 2012
The Columnist
Very often when I am at a play I find myself intrigued by the subject matter, but entirely bored with the way that it is being presented to me. This was the case with Manhattan Theater Clubs production of David Auburns new play The Columnist.
Pulitzer Prize winner Auburn (Proof) has a very interesting subject indeed in that of Joseph Alsop, a political columnist who in his day was as powerful as Hedda Hopper was in hers, though albeit in an entirely different arena. Mr. Alsop affected presidents, foreign and domestic policy, and most importantly was a huge supporter of the Vietnam war. Oh and he was gay.
John Lithgow gave a wonderfully deep and nuanced portrayal of a man shrouded in mystery. The emotional juxtaposition of being a man of power in Washington, a man who enjoys control, and also a soft father figure - and the need for a gentle love were tangible.
Unfortunately much of the dialogue is dry and uninteresting. There is so much exposition that you feel as though you are drowning in the facts. The supporting characters are also not as well developed. Boyd Gaines is terrific (as he always is) as Joe's brother Stewart (who is also a reporter) and his is the most equally explored character. The nature of that relationship, and the dynamic between the two of them is the most interesting of the play.
Margaret Colin and Grace Gummer are both doing their best with what they have to work with. This is one of the few times in my life that I could not wait for a play to end. It was just the most dry and boring evening of theater I have experienced in a long while.
Some others may have enjoyed it (and they must have because it extended twice) but it was not my cup of tea.
The Columnist closed at the Samuel Friedman Theater on Broadway on July 8th, 20012 after 86 performances .
Pulitzer Prize winner Auburn (Proof) has a very interesting subject indeed in that of Joseph Alsop, a political columnist who in his day was as powerful as Hedda Hopper was in hers, though albeit in an entirely different arena. Mr. Alsop affected presidents, foreign and domestic policy, and most importantly was a huge supporter of the Vietnam war. Oh and he was gay.
John Lithgow gave a wonderfully deep and nuanced portrayal of a man shrouded in mystery. The emotional juxtaposition of being a man of power in Washington, a man who enjoys control, and also a soft father figure - and the need for a gentle love were tangible.
Unfortunately much of the dialogue is dry and uninteresting. There is so much exposition that you feel as though you are drowning in the facts. The supporting characters are also not as well developed. Boyd Gaines is terrific (as he always is) as Joe's brother Stewart (who is also a reporter) and his is the most equally explored character. The nature of that relationship, and the dynamic between the two of them is the most interesting of the play.
Margaret Colin and Grace Gummer are both doing their best with what they have to work with. This is one of the few times in my life that I could not wait for a play to end. It was just the most dry and boring evening of theater I have experienced in a long while.
Some others may have enjoyed it (and they must have because it extended twice) but it was not my cup of tea.
The Columnist closed at the Samuel Friedman Theater on Broadway on July 8th, 20012 after 86 performances .
Wednesday, August 1, 2012
The Lyons
Every so often a play with come out that doesn't really have a deeper meaning than what is on the surface. Nicky Silvers The Lyons is one such play. That's not to say that the play is frivolous or by any means without purpose. The Lyons is about a family grappling with the impending death of its patriarch. When Ben Lyons' wife, Rita, and their grown children gather to say goodbye, they learn that despite being a family, each of them is utterly isolated. Afraid of closeness and afraid of solitude, they are propelled into foreign territory - human connection.
Linda Lavin is the anchor of the production. With her grounded portrayal of matriarch Rita Lyons, we are given a subtle nuance of a performance that brings backs floods of memories of women we may know. In particular I was reminded of my grandmother.
What we see before us is a group of people who have gone through life with bumpers on, bouncing off one another like cars at a carnival, and as a result have no idea how to relate to one another, or to other human beings. This is particularly true of the Lyons children played by Kate Jennings Grant and Michael Esper. There is particularly heart breaking scene where we witness the young Lyons boy attempting to make one such connection, and we see the effects of growing up without the perception of love, affection, and communication.
The Lyons is not a great play, but it is a good play. It leaves you with things to discuss at dinner afterward, but doesn't stay with you for days like some plays do. Though you will find yourself telling others about Linda Lavins performance (which did garner her a Tony nomination).
Due to it's small cast, and minimal set requirements I would expect to see The Lyons done quite frequently in regional productions. If it comes to a town near you it's worth seeing. The Broadway production closed on July 1st 2012 after 80 performances at The Cort Theater.
The cast also included Dick Latessa, Gregory Wooddell, and Brenda Pressley. Direction by the wonderful Mark Brokaw, set design by Allen Moyer, costumes by Michael Krass, and Lighting by David Lander.
Linda Lavin is the anchor of the production. With her grounded portrayal of matriarch Rita Lyons, we are given a subtle nuance of a performance that brings backs floods of memories of women we may know. In particular I was reminded of my grandmother.
What we see before us is a group of people who have gone through life with bumpers on, bouncing off one another like cars at a carnival, and as a result have no idea how to relate to one another, or to other human beings. This is particularly true of the Lyons children played by Kate Jennings Grant and Michael Esper. There is particularly heart breaking scene where we witness the young Lyons boy attempting to make one such connection, and we see the effects of growing up without the perception of love, affection, and communication.
The Lyons is not a great play, but it is a good play. It leaves you with things to discuss at dinner afterward, but doesn't stay with you for days like some plays do. Though you will find yourself telling others about Linda Lavins performance (which did garner her a Tony nomination).
Due to it's small cast, and minimal set requirements I would expect to see The Lyons done quite frequently in regional productions. If it comes to a town near you it's worth seeing. The Broadway production closed on July 1st 2012 after 80 performances at The Cort Theater.
The cast also included Dick Latessa, Gregory Wooddell, and Brenda Pressley. Direction by the wonderful Mark Brokaw, set design by Allen Moyer, costumes by Michael Krass, and Lighting by David Lander.
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