It's still a bit too early to be sure, but I'm almost positive that I have seen what will be this years best play, this years award winner for best actress in a play, and the next stage role that Meryl Streep will play on film. In any event, Sharr White's The Other Place is a stirring drama that is both well written and thought provoking. It also packs an emotional punch sharper than a Mike Tyson Uppercut.
Laurie Metcalf plays Juliana Smithton, a Neurologist who has spent her life working on a cure for Alzheimer's. We discover from the onset that Juliana's own life is coming unhinged. Her marriage is on the rocks, her daughter has run off with an older man, and her own health is in series decline. Scene by scene, a mystery unfolds as fact and fiction blur together, past and present collide, and eventually the truth boils to the surface.
This is a very funny play. The humor is in the truth of each situation, and many of the laughs are from an awkward place. The Other Place is also the kind of play that made every one in the theater sob - loudly. The type of sobbing that is messy, personal, and usually reserved for funerals.
This production was, in my opinion, perfect. The play itself is a wonderful piece of Theater and will no doubt be performed in regional theaters across the country in the coming years. If all you know of Laurie Metcalf is her comedic work, your mind will be blown by what you see before you on that stage. While Daniel Stern originated the role of her husband, I saw his replacement Bill Pullman, who is also a wonderful stage actor in his own right.
The set design by Eugene Lee and lighting design by Edward Pierce work in perfect concert with each other to give the play a depth and make each scene flow seamlessly. Joe Mantello has done an unusually fabulous job with his direction of giving each scene, character, and the play itself the same.
The other place is not just a play, it is an experience. This particular play effected me personally in a way that most plays do not. If you're like me, you know have an older relative, or know somebody who has suffered from Alzheimer's and/or dementia. At the very least, you've seen The Notebook. These are very real issues, and very real emotions. To see them portrayed on stage, to see somebodies life be torn apart by this disease, and to see the very specific hell that is living inside of one woman's mind is both breath taking and terrifying.
The Other Place played the final performance in it's extended limited run on March 3, 2013 after 34 previews and 64 regular performances.
Wednesday, March 20, 2013
Wednesday, March 13, 2013
Glengarry Glen Ross
There is no denying that Glengarry Glen Ross is a masterpiece of modern American play writing. David Mamet has crafted a truly remarkable and timeless lesson of the human condition. It has played Broadway three times total including it's premiere production in 1984.
I have been lucky enough to have seen both Broadway revivals, first in 2005 and most recently in a limited run in the 2012-13 season. This most recent production of Glengarry cast Al Pacino in the role of Shelley Levine, a former top man in the Chicago real estate game who has been on a years long downward spiral and has totally bottomed out. Joining him as the young buck who is on his way to the top and riding high, Ricky Roma, is Bobby Canavale. This, I'm sure, seemed like a great idea as Al Pacino played Ricky Roma to Jack Lemon's Shelley Levine in the film adaptation of the play.
Unfortunately the production is a mess from beginning to end. The play begins in a Chinese restaurant with Shelley Levine begging his unsympathetic boss, played by David Harbour, for a good lead. The entire production is set off on a bad note because the set looks awful. I'm sure it was intended to give the impression of a cheap Chinese place on a Chicago street corner, but it comes off as looking fake. The scene itself is played almost entirely devoid of any of the laughs that Mr. Mamet has put into the heart breaking moments. Also, Mr. Pacino is pausing for dramatic affect and the pacing of the entire scene is way too slow.
The following scene, in the same run down Chinese place that you wouldn't even order take out from by the looks of it, introduces us to Dave Moss (John C. McGinley) and George Aaronow (Richard Shiff). Moss is playing for laughs, but in a buffoonish and cartoonish way that doesn't fit in with the rest of the production. This gives the scene a disconnected feeling from the one that proceeds it.
Act one ends with a short interlude between Ricky Roma and James Lingk (Jeremy Shamos) in which, sitting at separate tables, Ricky Roma launches a pitch to a perfect stranger and convinces him to buy into real estate in Florida. This scene is to give us a taste of the selling prowess that is Ricky Roma. This is the only scene in act 1 that is bearable to watch and that is because Bobby Canavale (who speaks mostly in monologue) has tempered it with the perfect amount of humor and desperation and paced it just as perfectly.
Act II is a complete jumble as all characters converge back at the office to solve a mystery of stolen leads. This production is playing the drama of the piece and letting the comedy chips fall where they may. The pacing is slow, and nearly everyone is acting a different production of Glengarry Glen Ross. The set design for the office scene is equally as drab and unexciting. Once again, surely to evoke the feeling of a cheap run down Chicago real estate office in the 1980's, but it comes across as though the producers didn't want to spend the money on decent sets.
Overall the production was a huge disappointment. It's still a wonderful play, and I'm sure many people who saw it enjoyed it. Director Daniel Sullivan usually does wonderful work. However, with this production things got out of hand. Perhaps it was the star power. I look forward to the next Broadway revival of this wonderful play, and hope that it's better than his one was.
Glengarry Glen Ross played it's final performance at The Gerald Shoenfeld on January 20th, 2013 after 48 previews and 45 regular performances (whenever a show plays more previews that regular performances it's never a good sign). The play was directed by Daniel Sullivan, set design by Eugene Lee, Costumes by Jess Goldstein, and lighting by James F. Ingalls.
I have been lucky enough to have seen both Broadway revivals, first in 2005 and most recently in a limited run in the 2012-13 season. This most recent production of Glengarry cast Al Pacino in the role of Shelley Levine, a former top man in the Chicago real estate game who has been on a years long downward spiral and has totally bottomed out. Joining him as the young buck who is on his way to the top and riding high, Ricky Roma, is Bobby Canavale. This, I'm sure, seemed like a great idea as Al Pacino played Ricky Roma to Jack Lemon's Shelley Levine in the film adaptation of the play.
Unfortunately the production is a mess from beginning to end. The play begins in a Chinese restaurant with Shelley Levine begging his unsympathetic boss, played by David Harbour, for a good lead. The entire production is set off on a bad note because the set looks awful. I'm sure it was intended to give the impression of a cheap Chinese place on a Chicago street corner, but it comes off as looking fake. The scene itself is played almost entirely devoid of any of the laughs that Mr. Mamet has put into the heart breaking moments. Also, Mr. Pacino is pausing for dramatic affect and the pacing of the entire scene is way too slow.
The following scene, in the same run down Chinese place that you wouldn't even order take out from by the looks of it, introduces us to Dave Moss (John C. McGinley) and George Aaronow (Richard Shiff). Moss is playing for laughs, but in a buffoonish and cartoonish way that doesn't fit in with the rest of the production. This gives the scene a disconnected feeling from the one that proceeds it.
Act one ends with a short interlude between Ricky Roma and James Lingk (Jeremy Shamos) in which, sitting at separate tables, Ricky Roma launches a pitch to a perfect stranger and convinces him to buy into real estate in Florida. This scene is to give us a taste of the selling prowess that is Ricky Roma. This is the only scene in act 1 that is bearable to watch and that is because Bobby Canavale (who speaks mostly in monologue) has tempered it with the perfect amount of humor and desperation and paced it just as perfectly.
Act II is a complete jumble as all characters converge back at the office to solve a mystery of stolen leads. This production is playing the drama of the piece and letting the comedy chips fall where they may. The pacing is slow, and nearly everyone is acting a different production of Glengarry Glen Ross. The set design for the office scene is equally as drab and unexciting. Once again, surely to evoke the feeling of a cheap run down Chicago real estate office in the 1980's, but it comes across as though the producers didn't want to spend the money on decent sets.
Overall the production was a huge disappointment. It's still a wonderful play, and I'm sure many people who saw it enjoyed it. Director Daniel Sullivan usually does wonderful work. However, with this production things got out of hand. Perhaps it was the star power. I look forward to the next Broadway revival of this wonderful play, and hope that it's better than his one was.
Glengarry Glen Ross played it's final performance at The Gerald Shoenfeld on January 20th, 2013 after 48 previews and 45 regular performances (whenever a show plays more previews that regular performances it's never a good sign). The play was directed by Daniel Sullivan, set design by Eugene Lee, Costumes by Jess Goldstein, and lighting by James F. Ingalls.
Saturday, March 9, 2013
Golden Boy
There are some stories that will never cease to be relevant. There are some subjects that no matter the package they are delivered in, are always going to ring true to the human spirit. Clifford Odets' 1937 family drama Golden Boy is one such story.
It's true that boxing is not the event sport that it used to be. There was a time when boxing matches sold out every night they were on, and men would listen to the fights on the radio, and later on television. Boxers were, at one time, the highest paid athletes in the country. While the wrapping of Golden Boy is about boxing, the package underneath is a story about family, a fathers love for his son, and a sons need to make his own way in the world.
Golden Boy tells the story of Joe Bonaparte, a gifted young violinist who lives in a small apartment with his Father, sister, and her husband. Joe feels a strong need to make his own way in the world, and to become a success in his own fashion. While his father wants Joe to be a musician, even if that means only just having enough to scrape by, Joe has loftier dreams of being wealthy.
Joe, it turns out, is also a very gifted prize fighter. After he starts boxing small time, he is picked up with a national promoter and becomes a welter weight sensation. He then has to choose between the career in music that he has always wanted for himself, or a career in boxing which has become newly attainable and lucrative.
This particular production of Golden Boy hit every note in this concerto beautifully. Seth Numrich is perfectly cast in the lead role of Joe Bonaparte. He is at times equally a kid and a man in pursuit of his dreams. Tony Shaloub should be getting a Tony nomination for playing Joe's Italian immigrant father. He gives Mr. Bonaparte a tender heart with a sensitive outer shell that nuanced with an apathy that most people will find relate able to their own fathers.
The rest of the cast was rounded out especially well with the always fantastic Danny Burstein as Joe's trainer Tokio, Danny Mastriogorgio as Joe's manager Mr. Moody, and Yvonne Strahovski as the forbidden love interest Lorna Moone.
This Lincoln Center produced limited run revival was directed superbly by Bartlett Sher. The set design by Michael Yeargen worked perfectly in the beautiful Belasco theater. Catherine Zuber's costume designed complimented the scenery as well as the actors wonderfully.
Despite the fact that it closed in January, I would expect (and hope) that many aspects of this production will be awarded with Tony nominations when they are announced in May. Set, Costumes, Direction, Lighting, Revival, Lead Actor, and Supporting Actor are more than well deserved in my opinion.
Golden Boy closed on Broadway at The Belasco Theater on January 20th, 2013 after 30 previews and 53 regular performances.
It's true that boxing is not the event sport that it used to be. There was a time when boxing matches sold out every night they were on, and men would listen to the fights on the radio, and later on television. Boxers were, at one time, the highest paid athletes in the country. While the wrapping of Golden Boy is about boxing, the package underneath is a story about family, a fathers love for his son, and a sons need to make his own way in the world.
Golden Boy tells the story of Joe Bonaparte, a gifted young violinist who lives in a small apartment with his Father, sister, and her husband. Joe feels a strong need to make his own way in the world, and to become a success in his own fashion. While his father wants Joe to be a musician, even if that means only just having enough to scrape by, Joe has loftier dreams of being wealthy.
Joe, it turns out, is also a very gifted prize fighter. After he starts boxing small time, he is picked up with a national promoter and becomes a welter weight sensation. He then has to choose between the career in music that he has always wanted for himself, or a career in boxing which has become newly attainable and lucrative.
This particular production of Golden Boy hit every note in this concerto beautifully. Seth Numrich is perfectly cast in the lead role of Joe Bonaparte. He is at times equally a kid and a man in pursuit of his dreams. Tony Shaloub should be getting a Tony nomination for playing Joe's Italian immigrant father. He gives Mr. Bonaparte a tender heart with a sensitive outer shell that nuanced with an apathy that most people will find relate able to their own fathers.
The rest of the cast was rounded out especially well with the always fantastic Danny Burstein as Joe's trainer Tokio, Danny Mastriogorgio as Joe's manager Mr. Moody, and Yvonne Strahovski as the forbidden love interest Lorna Moone.
This Lincoln Center produced limited run revival was directed superbly by Bartlett Sher. The set design by Michael Yeargen worked perfectly in the beautiful Belasco theater. Catherine Zuber's costume designed complimented the scenery as well as the actors wonderfully.
Despite the fact that it closed in January, I would expect (and hope) that many aspects of this production will be awarded with Tony nominations when they are announced in May. Set, Costumes, Direction, Lighting, Revival, Lead Actor, and Supporting Actor are more than well deserved in my opinion.
Golden Boy closed on Broadway at The Belasco Theater on January 20th, 2013 after 30 previews and 53 regular performances.
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