Month: June 2009

Quote of the Day: Bob Martin

“Once you open on Broadway, you will meet many celebrities, both backstage after the performance and later over Cosmopolitans at the local theatre bar. Try to avoid meeting the bitter, drunken ones. This may be difficult as obnoxious celebrities are, by nature, gregarious, and quick to bark long stories of their bitterness, ripe with contradiction, at anyone they encounter, no matter how Canadian that person may be. A Broadway neophyte can become jaded by such encounters, and that can make for a difficult run. It is far healthier to socialize with well-rounded veterans of the stage and screen, who have accepted their success with humility and grace, and lived long dignified lives unblemished by scandal or cosmetic surgery. I recommend Angela Lansbury. Blythe Danner will do in a pinch.”

Bob Martin, “Meet Angela Lansbury,” Step #5 of his treatise on “How to Create a Broadway Hit in 6 Easy Steps” in Sunday’s issue of the Toronto Star

And then it’s gone…


Most of you are well aware of my complete and total admiration for the Broadway production of August: Osage County, from my overwhelming adrenaline-fueled experience of its opening night onward. By the end of today’s closing performance at the Music Box, I had seen the play a total of seven times. Twice with Deanna Dunagan, twice with Estelle Parsons and twice with Phylicia Rashad (oh, and once with understudy Susanne Marley for good luck). The play never lost its spark or its edge with the departure of original cast members, remaining a strong vibrant piece of theatre that made an indelible mark on the Broadway scene 648 times, the longest-running play in seven years.

Today marked a final pilgrimage to a piece of theatre I respect and love wholeheartedly for its ambitious size and length, for its seamless and intelligent staging and above all else for its superlative acting. So I arrived at the Music Box Theatre expecting another mammoth three and a half hour catharsis. I didn’t expect to be taken completely by surprise.

At 1:45, I arrived at the Music Box Theatre to pick up my ticket at the box office. Turning away from the ticket window, I was organizing myself when I saw that a name was up on the understudy board. Curious, I walked over and I read “MATTIE FAE AIKEN – RONDI REED.” I read it a second time, and as that piece of info registered in my head, I proceeded to drop my ticket, my cell phone and my ipod. It took me about five minutes to recover, at which time I posted on twitter, facebook, text message and All That Chat. I just couldn’t contain my unbridled enthusiasm at this little tidbit.

Rondi Reed, a thirty year veteran of the Steppenwolf Ensemble, originated the part of Mattie Fae at Steppenwolf and transferred to Broadway, playing the role for six months and picking up the Tony Award for Best Featured Actress along the way. She was also part of the original London cast at the National Theatre this past November. Reed is currently back in NY playing Madame Morrible in the Broadway production of Wicked. For the last several months, Broadway legend Elizabeth Ashley had been playing the part, and I had seen her in the role only three weeks ago. It was an unexpected and unusual turn of events as actors who have departed the company rarely reappear for the final performance of the show.

Just before the house lights went down, the Stage Manager appeared onstage to make an announcement. She welcomed us to the theatre and production and disclaimed: “Unfortunately I’m sorry to tell you one of our cast members, Liz Ashley called us this morning and told us she was sick and unable to do today’s performance. But luckily for you, filling in for her today will be Rondi Reed (ROAR FROM CROWD… when the din died down she resumed) who played the role in the original company and won the Tony award for her performance.” She then took a moment to talk on behalf of the company about how grateful they were for the long and successful run, before the obligatory comment about cell phones, etc. Then we were off…

The performance was explosive. Phylicia Rashad became the one and only Violet I’ve ever seen earn entrance applause during the Prologue. The audience was even more enthusiastic when the lights came up on Rondi Reed, who was decked out in the revised costume designed for Liz Ashley, a loose fitting blouse that favored blue, and the open toe matching shoes as well. (One thing I’ve loved about this show is how they have managed to find variations in the costume design to fit each actor’s interpretation).

Reed, coming in at a moment’s notice had instant rapport with each and every actor and whose mere presence and voice took me back an entire year to the last time I saw her onstage. Her definitive delivery of so many of her lines brought me right back: “This situation is fraught” Just….show a little class…” “I’m having a cocktail!” “You have to tell us something!” and the deathless “That’s my casserole!!” All delivered with the same nuance and humor that earned this brilliant actress her Tony. I never thought I would see Rondi in this part again, which only heightened the experience for fans who were making one last visit. (To think that I saw Rondi Reed and Phylicia Rashad play off of each other as sisters for the one and only time during the run!)

Amy Morton was yet another to receive entrance applause. As I’ve often stated, Morton’s performance is one of the best I have ever seen in my life, a marriage between actor and role that is pure, unadulterated alchemy. Mariann Mayberry as Karen broke the collective heart of the audience. Even the more troublesome performance of Sally Murphy showed signs of considerable restraint, that is until the infamous “Eat the fish, bitch!” scene in the third act. It was at this point that Murphy dipped back into her bag of histrionic tricks, jumping an octave and screaming so unintelligibly that some vital lines were lost to the ages.

One of the most memorable scenes of the entire play is the notorious dinner scene at the end of the second act. Lasting twenty minutes, the family sits wearily and on edge as a drug-addled yet surprisingly lucid Violet eviscerates and excoriates every single person at the table (with the noted exception of her sister). Violet is driving at exposing truths among the family members, without a care as to the impact of her own words. Choices and spontaneity provided me with some unexpected moments: for example, I laughed to the point of tears at Rashad’s delivery of “Who ARRRRRRE you?” to Brian Kerwin’s Steve. The situation boils until Amy’s Barbara physically attacks Violet to take away her bottle of pills. The energy level at the moment was pitch perfect, with Barbara’s “I’M RUNNING THINGS NOW!!!” a total war cry at Violet and one that sent the audience into a cheering frenzy at the act-ending blackout.

Phylicia found such freshness in her approach that made for an even stronger performance than the one I had seen a mere three weeks ago. Violet Weston was beautifully served by Phylicia Rashad; the only tragedy here is that the show closed before most of you had the chance to witness her genius performance.

Ever the pro, Rondi Reed had to hustle out of the Music Box (where on the street she was met with an appreciative roar) in order to make it to the Gershwin Theatre. While Reed had called out for the matinee performance of Wicked, she was insistent on playing the Actor’s Fund show that evening. So after making her way through a complex three and a half hour drama, she had less than an hour to get costumed as Madame Morrible for the evening’s performance. I must tip my hat to such utter professionalism and energy. Reed is a one-of-a-kind actress and an absolute treasure to the NY theatre community. Also, if I’m not mistaken I think she is the only actor to ever appear in a Broadway play and musical on the same day.

The performance was overall rock solid; I could hear people crying during the final moments as the stage lights dimmed on Phylicia…wandering the house calling out the names of the family members who’d all abandoned her. By the time the lights were up for the curtain call, the house was already on its feet, cheering this brilliant ensemble for their fine work as well as saluting this captivating piece of theatre. Mariann started taking pictures from onstage, the actors left and house lights came up. Yet the audience didn’t budge. They sustained the applause and kept the momentum of their cheers up to warrant a second curtain call, something that didn’t even happen on opening night.

Waiting outside of the theatre was our beloved SarahB, who had been allowed in to see the final fifteen minutes. As I pulled myself together from the performance, none other than Tracy Letts walked by, with whom we spoke briefly and who signed our Playbills. I haven’t gone to the stage door in three years and though I considered it, I opted not to today. With a closing performance, it’s a crowded and hurried affair. But I did get a great picture courtesy of Sarah standing next to one of the billboards:

Sarah and I headed over to Angus, where we spent four hours knocking back concoctions and laughing about the good times we’d had while having many more. We had a blast with our congenial bartender and one of the waitresses, Sarah Fishbeck, with whom I attended college. The banter inevitably led to a discussion of all the shows that are coming up this season. Soon most of the theatres around Shubert Alley will be housing new shows. Finian’s Rainbow at the St. James, Memphis at the Shubert, Jude Law in Hamlet at the Broadhurst and Tracy Letts’ second Broadway play, Superior Donuts will settle into the Music Box this fall; the first play of the new season.

As always, the story goes on…

An Open Letter to Roundabout

To Whom It May Concern,

I have been a loyal subscriber with the Roundabout Theater Company for two seasons. When I first got the solicitation call, the ticket seller and I discussed the recent production of 110 in the Shade, a delightful musical revival with Audra McDonald that was an unmitigated pleasure. I decided to take the plunge and see how it worked out. I didn’t regret that decision, as I was mostly pleased with the 2007-08 season as well as my seating arrangements. There was no hesitancy when it came to renewing for the following season, plus there was the offer of upgraded seating.

There have been many shows I have appreciated at Roundabout, with especially fond memories of Sunday in the Park With George, Pygmalion, The Marriage of Bette and Boo and Old Acquaintance. Others I may have appreciated less, but still was grateful for the opportunity to see the works live onstage.

Regardless of what was being presented, there has never been an issue with the front of house staff, or any of the ushers. I have had no problem with needing to exchange a ticket when something such as inclement weather or illness got in the way. For those amenities and customer services, I am exceptionally grateful.

Looking back on your Broadway season, you hit a decent mark with your underrated revival of Robert Bolt’s A Man for All Seasons in the fall. Pal Joey and Hedda Gabler were much talked about in theatre circles, and you brought Godot back to Broadway in lieu of Fosse. (A decision that pleased me, as I feel we’ve hit the ceiling on Fosse revivals-tributes-revues for the time being). However, my focus today brings us to the current production of The Philanthropist.

It’s not that The Philanthropist is a bad production, it’s that the revival of Christopher Hampton’s wry comedy about an offensively inoffensive philologist is hands down the worst production I personally have ever seen executed on a Broadway stage. Perhaps executed is too kind a word to describe what happened onstage at the American Airlines Theatre. But I digress…

I have read that this production, which transferred from the Donmar in London, was a success in England due to a nuanced performance from star Simon Russell Beale. Unlike the transfer of The Norman Conquests, with its entire cast intact, this production falters immeasurably from the miscasting of Matthew Broderick in the role of Philip.

Now I realize that Broderick is an internationally recognized film star from his appearances in such films as Ferris Bueller and Election, and I assume that there must have been some worth to his talent garnering two Tony Awards along the way. A renowned performer is likely to boost interest and ticket sales for the more obscure offerings at your humble little home. But I would hope that the next time you consider doing an uninteresting play with little to no relevancy to anyone or anything, you at least find a leading man who will at least try to act. Or at least can manage enough charm and presence to fake his way through a performance.

There was a brief moment when I thought that perhaps the play wasn’t going to be as bad as critics and word of mouth suggested. Then Broderick uttered his first line and it was instantly clear that all hope was lost. Broderick is giving a performance that could easily be described as that of a high school freshman making his stage debut. But that in itself would be an insult to high school freshmen everywhere.

From beginning to end, the star makes no discernible effort. He speaks in an accent that is a parody of a parody of a British accent; there is no investment of his body into his performance. If Broderick is making any effort to act, it’s with his head alone and even then he looks bored, sounds lazy and doesn’t remotely care that there is a paying audience in attendance.

For someone who studied at the HB Studios, Mr. Broderick should be ashamed to be giving a performance in such complete contrast to everything the great Uta Hagen espoused. Can one’s Equity card be revoked for unabashed ambivalence? If not, there should be a special dispensation made here. It appears that the actor has hit a wall in terms of his ability and range.

Not all is lost. Thank you for offering Broadway newcomer Tate Ellington the chance to show us what appears to be a considerable potential as a stage actor. Perhaps my issue here is not so much with you, but more so with playwright Hampton that Ellington’s character shoots himself in the head less than ten minutes into the play. The most fascinating character in the play not only dies instantly, but his storyline has very little to do with the plot at all. If there had been any mercy in the world, his character would have shot Mr. Broderick’s Philip instead, sparing the theatregoers at my Sunday matinee a most excruciating two hours.

Thank you also for Steven Weber and Jonathan Cake, two game pros who both tried in vain to save the play. I have never seen actors working so hard, nor have I ever felt so embarrassed for professionals so lost at sea from a star’s complete lack of interest. My heart goes out to Samantha Soule, an actress with no dialogue who makes the most of her thankless cameo. For the majority of the second act, I couldn’t help but think “Where is Mark Rylance when you need him?”

Unfortunately, the presence of the other actors did absolutely nothing to salvage the afternoon. I have never seen an audience so completely disengaged by a play, a production or a performance in all my years of professional theatregoing. This play also marked the first time I seriously considered walking out at intermission. Though I decided I wouldn’t break my streak with this production, a part of me wishes I had.

Glancing around the house, I noticed people of all ages starting to doze off. While a production can be bad, it should never be boring. That is where this show falls from grace: it unforgivably manages to be both. There is the old adage of “phoning it in,” and Mr. Broderick has found a way of turning that into an art.

As I walked into the lobby, I turned in time to see a subscriber grab her husband by the arm and say loudly with contempt “That was pathetic.” I must say I agree; I have never felt so resentful at the curtain call of any play quite like this one.

So my friends at Roundabout, I regret to inform you that I will not be renewing my subscription for the next season. I will take each show on a case by case basis. There is still some remote hope for the coming season, especially as you are offering the first-ever revival of one of my favorites, Bye Bye Birdie.

I look forward to the future.

Sincerely,
Theatre Aficionado (at Large)

Vintage Photo: "South Pacific" closing night


This snapshot was taken at the closing night party for the original production of South Pacific on January 17, 1954. Rodgers and Hammerstein are about to help three Knucklehead Nellie’s wash the men right outta their hair, with (from left-to-right) Tony-winning original Mary Martin, Janet Blair and Martha Wright. Gotta love these vintage posed-publicity shots.

"Superior Donuts" to play Music Box Theatre

Hot off the presses….!!!

Superior Donuts, the highly anticipated new American play by Pulitzer Prize and Tony Award winner Tracy Letts will follow Letts’ Tony Award winning August: Osage County into The Music Box Theatre (239 West 45th Street), beginning performances on Wednesday, September 16, 2009 and officially opening on Thursday, October 1, 2009. Tickets will be on sale through Telecharge.com or by calling 212-239-6200 beginning on Friday, June 26, 2009 and The Music Theatre box office will open on Wednesday, August 19, 2009.

Superior Donuts will be making its Broadway premiere direct from a sold-out engagement at Steppenwolf Theatre Company where it had its world premiere in the summer of 2008. Tina Landau will make her Broadway straight play directing debut with this production which she directed at Steppenwolf.

Arthur Przybyszewski owns a decrepit donut shop in the uptown neighborhood of Chicago. Franco Wicks, a black teenager who is his only employee, wants to change the shop for the better. This comedy-drama, set in the heart of one of Chicago’s most diverse communities, explores the challenges of embracing the past and the redemptive power of friendship.

The Steppenwolf production of Superior Donuts will be produced on Broadway by Jeffrey Richards, Jean Doumanian and Jerry Frankel, producers of August: Osage County.

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!

Some Classics Not on DVD

Last night, I decided to pop in the recently reissued DVD of the 1961 classic Splendor in the Grass, which starred Oscar nominee Natalie Wood and the ever-bland Warren Beatty, in his film debut. This edition marked the second release of the film, as part of a new Natalie Wood boxed set (with titles also available individually). Then I remembered that another one of her classics had yet to be released on DVD which started the ball rolling on this entry. So starting with that film, I compiled a short list of some notable classic movies that are not on DVD. All but one have never been available on Region 1 DVD.

Love with the Proper Stranger. This 1963 romantic comedy drama rather charmingly tells the story of a one-night stand that leads to pregnancy. Natalie Wood, in another Oscar nominated performance is the girl from a strict Italian Catholic family who finds herself in the family way, with Steve McQueen as her suitor. Daring for its time in its depiction of pre-Roe v. Wade abortions, the film finds a suitable balance between the funny and the poignant. Tom Bosley is incredibly endearing in his film debut.

The African Queen. One of the most famous action adventure films of all time, for some reason John Huston’s classic (from the novel by C.S. Forester) about a boorish boatman and upright missionary drifting downstream in the Congo has never been released on DVD in Region 1. Humphrey Bogart won his only Academy for his performance as Charley Allnut while Katharine Hepburn takes one of the many spinster roles that defined her film career in the 1950s. The film thrives on the personality clash of its stars and is aided by some lush Technicolor cinematography shot on location. Hepburn was given one minor piece of direction by Huston that completely helped her find her character: think Eleanor Roosevelt. She later claimed it to be “the best piece of direction I have ever heard.”

Dear Heart. This gentle romantic comedy is about the unexpected romance between maturing postmistress Geraldine Page and the uneasily betrothed Glenn Ford while Page is in NY for a convention. Shot on location in NY, it features some of the last footage of the old Penn Station before its upper level was demolished for the new Madison Square Garden. Angela Lansbury makes a spirited entrance in the film’s final act as Ford’s fiancee.

Wings. The first-ever Academy Award winner for Best Picture, this one’s about best friends (from opposite sides of the tracks) and World War I flying aces who find themselves competing for the affections of the same girl (Clara Bow). The film is especially notable for its air fight sequences, and also for being the only silent film to ever take top prize at the Oscars. Plus it’s got a young Gary Cooper in a supporting role. It’s one of two Best Picture winners not currently available on DVD. The other is the 1933 adaptation of Noel Coward’s Cavalcade.

Wuthering Heights. The 1939 adaptation of the Emily Bronte gothic novel was previously available from Samuel Goldwyn on VHS and DVD but has been long out of print. Directed by William Wyler, the film starred Laurence Olivier and Merle Oberon as the passionate but star-crossed lovers in an adaptation that drives purists insane as it cuts the second half of the book (leaving out the entire parallel second generation). However, it remains a beautifully directed, shot and acted piece of film. And the only Best Picture nominee of that banner year of 1939 not on DVD at the present.

The Magnificent Ambersons. Orson Welles’ followup to Citizen Kane was to be even more ambitious: an epic adaptation of Booth Tarkington’s sprawling novel about the fall of a powerful Midwestern family. However, once Welles finished the film and left Hollywood, RKO took over preparations for the final cut. When it tested poorly, executives cut out 50 minutes and added an uplifting ending much to Welles’ displeasure. Still, the final film is incredibly well regarded in its 88 minute running time, with great performances from Joseph Cotten, Anne Baxter and an Oscar-nominated Agnes Moorehead.

A Tree Grows in Brooklyn. This adaptation of Betty Smith’s classic bildungsroman (thank you, English degree!) about a young girl and her family growing up in Brooklyn at the turn of the 20th century is absolutely beautiful, with an Oscar-winning turn by James Dunn as the ne’er-do-well father. Dorothy Maguire is the long-suffering mother, Joan Blondell the lusty lovable Aunt Cissy and Peggy Ann Garner’s sensitive portrayal of Francie (along with appearances in Nob Hill and Junior Miss) garnered her the special Juvenile Oscar for outstanding child actress of 1945.

Hopefully these films, and others will eventually find their way onto DVD. Until then, we have to rely on TCM and other stations for showings. Warner Home Video recently started the Warner Archive, a DVD on demand catalogue with obscure classics never before released burned onto a DVD-R for $19.95. The archive releases contain a digital transfer of the current film elements (no restoring or remastering) and have no special features. (That’s how I got my copy of Sunrise at Campobello with Ralph Bellamy recreating his Tony-winning performance as FDR). Also, Turner Classic Movies keeps a list of the viewer poll’s top 200 classics not currently available.

Are there any personal favorites you would like to see released…?