Tag: Rupert Everett

"One Rap for Yes…Two Raps For No"

We were there for opening night, we were there for Tony Tuesday so it was inevitable that we would be there for the final performance of Blithe Spirit (some of us went much more often than that). For the record, today marked my fourth and final trip to the Condomine residence.

However, the day got started at Thalia’s for some bloggers who brunch action. Steve and Doug, Esther, Chris, Sarah, Kari, Roxie, Jimmy, Alicia and myself gathered for the usual conversation over breakfast concoctions (make mine a mimosa any day). Even with the pleasure of reading everyone’s blogs, writing on someone’s Facebook wall or communicating via twitter, nothing beats gathering together at a table in a swank NY restaurant for the real thing.

Sarah, Kari, Roxie, Noah and I headed over to the Shubert for a sold-out matinee that featured yet another fizzy champagne afternoon. The crowd was electric, very much into the play and appreciative of the comedy. Some of the lines were rushed/dropped, but that didn’t hinder any of the enjoyment. Rupert Everett and Christine Ebersole were still problematic in their characterizations, but not so much to hinder from the experience. Susan Louise O’Connor is a star on the rise. Simon Jones and Deborah Rush gave the Bradman’s their final exercise in skepticism. Of course there was that devil-may-care Tony-winning performance of Angela Lansbury as Madame Arcati, a pro among pros who (if the rumors are true about her involvement in A Little Night Music in the fall) is certainly enjoying a late-career renaissance on Broadway, and deservedly so.

My admiration today, though, is reserved for Jayne Atkinson. Atkinson took the role of waspy Ruth, a stark contrast to the ethereal and immoral Elvira, and turned it into something extraordinary. Ruth usually provides a great comic angle, but mostly as a straight man to the lunacy and farce going on around her. To put it frankly, she’s rather bland on paper. Atkinson, though, created an indelible leading lady performance that was one of the most underrated treasures of the theatre season.

Today, especially, Atkinson’s Ruth seemed to shine ever-so-brightly. Finding even in the final performance truthful comedy that none of us had ever seen before (a riotous parody of Madame Arcati’s earlier trance dance). Droll, clipped, with some of the best listening and reacting I’ve ever seen in a comedy, she was nothing short of effervescent. For my money, she deserved a Best Actress in a Play nomination. But I do look forward to seeing what she does next. If she’s onstage in NY, you know we’ll be there.

After the show, the cast received flowers and continued to bow as the curtain came down and the house lights went up. And predictably enough, we went to Angus for post-show dinner and drinks, continuing to enjoy ourselves immensely on what was a most beautiful day in the city.

Third Time’s as Charming as Ever

Most of you know already know how I feel about the magnificent revival of Blithe Spirit, so I’ll keep this one brief. I had the unexpected pleasure of going back to see the show a third time this evening. Even though I saw it a mere two weeks ago, it’s still hilarious and doesn’t lose any of its magic on return visits. The house was mostly full with an eager and appreciative crowd. Personal favorite Jayne Atkinson got entrance applause at the very top of the play and we were off. The pacing and performances are tighter and funnier; Blithe Spirit is the Dom Perignon of this season’s revivals.

The cast is uniformly excellent; I’m even warming up to Ebersole’s rather kooky interpretation of Elvira. Everett postures but is still good with a droll line reading. Simon Jones and Deborah Rush make great impressions in their limited stage time. The aforementioned Atkinson should be featured in a show every season, as far as this humble fan is concerned. And of course, Angela Lansbury continues to be the Belle of the Ball as Madame Arcati, with an especially feisty performance tonight. Her relationship toward the Bradmans has grown consistently edgier and is all the more funnier for it.

The show is only running until July 19, so if you haven’t gone yet, get a move on!

High Spirits at "Blithe Spirit"

What can I possibly say about the opening night of Blithe Spirit? I’ve been to quite a few opening nights in the past couple of years, but none recalled the glamour of the Golden Age of Broadway quite like this one. Everywhere we looked, there were stars dolled up to the nines in their tuxes and evening gowns. Then to witness the sparkling champagne revival of Noel Coward’s classic play on top of it? It doesn’t get much better than that.

The evening got started as it often does at Angus for our customary opening night toast and chatter. We soon realized that we were surrounded by first nighters as we started seeing bow ties and cummerbunds wherever we looked. The red carpet was mobbed with celebrities and curious onlookers at the Shubert Theatre. The Shubert flagship had long been resident house of the recently closed Spamalot and housing its first straight play since the 1975 revival of The Constant Wife with Ingrid Bergman. After taking in some of the scenery in and around the lobby, we trekked up to the balcony where we found ourselves dispersed among the crowds. The woman to my left was clearly a regular theatregoer who was attending her very first opening night (and I instructed her to visit the lobby at intermission so as to take in the stars).

The play is a beautiful throwback to the parlor comedies of the 1930s and 40s, with enough wit and class in the staging and design that even the usually snippy Coward couldn’t help but approve. (Snippy you say? Read his diaries and compilation of letters. They’re incredibly opinionated, bitchy and often always hilarious). Christine Ebersole, Rupert Everett, Jayne Atkinson and the irrepressible Angela Lansbury star in this first-rate revival of one of Coward’s most amusing and enduring comedies. Ebersole is a bit out of her element as Elvira and has to work harder than the rest, but nevertheless turns in a fun performance as the troublemaking solipcist of a dead wife. Everett could play a role like Charles in his sleep, and in his Broadway debut as the acerbic, put-upon Charles; a game straight man to the three women at the center of the play. Atkinson is comic marvel as the living wife, Ruth, who on page is a considerable wet-blanket, turning her into the more impressionable of the wives. Susan Louise O’Connor, also making her Main Stem bow, takes the small role of Edith and turns it into a physical comedy highlight (her business involving the serving tray and the chair is quite memorable). Simon Jones and Deborah Rush add some color to the listless roles of the skeptic doctor and his awkwardly verbose wife.

However, the evening belongs to Angela Lansbury as the eccentric medium Madame Arcati. Lansbury has some hefty shoes to fill. The role was created in London and onscreen by Margaret Rutherford (best known for essaying Miss Marple in a series of 1960s films and an Oscar winner for a scene-stealing performance in The VIPs), Mildred Natwick in the original Broadway production as well as a 1950s television version and Geraldine Page in the 1987 revival. Bea Lillie had her final stage triumph starring as Arcati in High Spirits, the 1964 musical adaptation of the play.

When Lansbury made her first entrance she received lengthy applause from an audience grateful at seeing an icon on her latest icon, a hand completely deserved. Decked out in delightfully garish garb with a red wig knotted in double braids, Lansbury delivers a fresh performance that ranks with the best of them. Watching her command of the stage in a physical role such as this is nothing short of a marvel. She’s lean, she’s lithe and delightfully blithe (to borrow from Timothy Gray and Hugh Martin) in all facets of her performance, with enough energy to light up Times Square. Her look, her voice, her delivery, her timing (that delicious Bette Davis glare she gives Deborah Rush!) are all beyond compare. However, the highlight of her performance could very well be the bizarre interpretive dance Arcati does to Irving Berlin’s standard “Always.” It’s the stuff of theatrical legend, I look forward to repeat visits and I can’t wait to see her win a fifth Tony this June.

After the opening, we stargazed as the glamorous throng made it’s way across the street for the opening night party. Sarah asked Donna Murphy, looking like a Grecian goddess, when she was going to be back on Broadway. And when Elizabeth Ashley left Sardi’s and was getting into her car, we decided to give her a big round of applause because, well, she’s Elizabeth Ashley. She shouted to us “But I wasn’t in the play!” to which we replied “We know!” and just continued cheering. The evening reached it’s climax as our gathering in front of the Shubert lasted longer than the official party across the street, looking at our stars get into their cars and head home for the night. Before the night was over, we were reviving the revival complete with sock puppets. A night for the ages and one to remember.

Before I go… here’s an idea that I’ve been very vocal about: for the inevitable Actor’s Fund benefit performance present a performance of High Spirits in concert style staging at the Shubert. You’ve got two musical theatre divas reigning supreme in the choice leads. From the business they do onstage in the play, it’s clear that Atkinson and Everett have at least a passing sense of musicality and voice. Besides, who wouldn’t love to hear a full orchestra knock that sensational overture out of the ballpark? Or have Angela Lansbury crooning a love song to her ouija board? Or have Christine Ebersole fly around faster than sound? I’d be there. Just a thought… In the meanwhile, get your tickets to Blithe Spirit!!

Opening Night!

I have returned! To celebrate, I will be taking in the opening night of Blithe Spirit at the Shubert Theatre this evening with Sarah, Roxie and friends. The revival of the famed Noel Coward farce stars Christine Ebersole, Rupert Everett and our beloved Angela Lansbury with Jayne Atkinson and Simon Jones under the direction of Michael Blakemore. I am looking forward to this production moreso than any other this season. Angie is taking on the role of the eccentric medium Madame Arcati, a role originated by Margaret Rutherford in London (who preserved it in the film adaptation) and Mildred Natwick on Broadway (who played the part in a 1950s television production that starred Coward, Claudette Colbert and Lauren Bacall). Geraldine Page took on the role in the 1987 revival, with Patricia Conolly taking over after Page’s unexpected death during the run. The 1964 musical version of the piece, High Spirits starred Beatrice Lillie in her final stage appearance as Arcati, with Tammy Grimes and Edward Woodward. The musical, which received a reading with Roundabout last year, isn’t as strong as the original play. However, it’s score is quite enjoyable; containing one of my favorite overtures and favorite eleven o’clock numbers (the bluesy, showstopping “Home Sweet Heaven”).