A Decade in Review

As we approach the end of 2010 as well as the first decade of the 21st century (There’s no such thing as Year 0 in our calendar), I’ve been looking back on the ten years of theatregoing I have had and have compiled a list of some favorite moments:

January 9, 2001 – It was my third Broadway show, but the sublime revival of Kiss Me Kate was the first show in NY that made me feel as though I were ten feet in the air. Stylish, elegant and irrepressibly funny, I went with my high school AP English classes (one section was reading The Taming of the Shrew). Starring Brian Stokes Mitchell and Marin Mazzie (whom I adored from the original cast recordings of Ragtime), the revival (at the Martin Beck). I can remember every detail. We gathered after school, caught a train and headed right to TKTS (my first time at the booth) then dinner at TGI Fridays. I sat with my favorite English teacher, Fran Schulz, and we just laughed and laughed. We were breathless by intermission and practically needed oxygen by the end of act two. It’s become the standard by which I judge all musical comedy revivals. The London company was preserved for PBS telecast and DVD, but that incarnation doesn’t live up to my memories of this enchanted evening.

July 9, 2002 – Noises Off! I didn’t think I’d see the revival, which had recently won a Tony Award for featured actress Katie Finneran. However, while roaming the local mall on school break with a friend, I saw there was a contest for free tickets to the production. For the hell of it, I just put my name on the piece of paper and tossed it into this vat of thousands of slips. You can imagine my surprise when I got a phone call telling me how to arrange my free tickets. Knowing that the revival’s original cast would be departing, I arranged for the final week of their run. I’m glad I did; it was one of the most hilarious productions I’ve ever seen. It was my first time seeing Patti LuPone, Faith Prince, Richard Easton and T.R. Knight onstage. On top of it, it was also the first time I stage-doored a production and as a result I fell in love with Katie Finneran, who showed me great personal kindness and graciousness in a brief moment. Noises Off was the funniest production I’d seen until The Norman Conquests in 2009.

November 27, 2003 – Barbara Cook Sings Mostly Sondheim. I’ve long been a huge admirer but had never seen her perform live. Then I received word that she’d be in my very town while I was on Thanksgiving break. I had the CD of the 2001 Carnegie Hall concert, which featured Malcolm Gets. However, in Peekskill, it was just Barbara and her three man band. I sat in third row center and just basked in the performance. Her nuance with the lyrics, her warmth and humor, the depth of her feeling as she delved into the lyrics. The pinnacle, though, was hearing Cook sing “Ice Cream” her trademark number from She Loves Me. In the original key, no less. Chalk that one up to musical theatre zen.

May 27, 2004. I’ve talked about this day before, as it remains one of the most important of my life. Without the final performance of Gypsy with Bernadette, I wouldn’t have such marvelous friends like Noah and SarahB (and the extended family as a result). It was my first time at a Broadway closing (I’ve now done 14) and it was the first time I ever went backstage at a Broadway house. It was also the first time I saw Bernadette onstage, and in spite of what you see in print these days, her performance was well received by critics and audiences alike. And she should have won the damn Tony.

April 18, 2005. My first opening night. The Light in the Piazza at the Vivian Beaumont Theatre. (To date I have done 7 opening nights). It was the start of an obsession with a superlative musical, which I ended up seeing 12 times throughout its run. There have been many other important theatregoing experiences of my life, but none that have been this magical. Victoria Clark’s performance as Margaret Johnson was one for the ages, and Kelli O’Hara was equally sublime as her daughter. Adam Guettel’s score was one of the best of the decade and it’s a shame we haven’t yet heard anything new from this brilliant composer/lyricist.

December 4, 2007 – August: Osage County opening night at the Imperial. I’d never gotten more dressed up or cared more about my appearance than this particular opening, as I was a guest of Noah. Because of the union strike, the opening had been delayed and by my great good fortune I was allowed to attend. It was a lot of fun standing in the lobby with Sarah, Kari and Sally people watching people as the stars made their entrance into the lobby. But what was even more amusing was the fact that there were celebrities who were there because they just had tickets for that performance – and celebrities who brought celebrity friends as plus-ones. But nothing prepared me for the searing power of Tracy Letts’ play with a dynamite cast including Deanna Dunagan, Amy Morton and Rondi Reed. After the second act, I was in need of air. Saw this three and a half hour play 7 times.

Tuesday, June 12, 2007. My first post-Tony performance. We were in attendance after Christine Ebersole and Mary Louise Wilson won Tonys for their brilliant work on Grey Gardens. I had seen and loved the show earlier in its Broadway run, but the audience at this show made it something to behold. The applause at the top of the show threw the actresses off of the pre-recorded track (charmingly saved by Wilson) and Ebersole received the only second act standing ovation I’ve ever seen upon her entrance as Little Edie just before stopping the show with “The Revolutionary Costume for Today.”

March 27, 2008 & April 4, 2008. Two glorious revivals of American musical classics opened: Gypsy at the St. James Theatre, South Pacific at the Vivian Beaumont. I was in attendance for both and just adored both productions. I’m of the school that loved both Bernadette and Patti, so comparisons are a moot point there. However, this second revival was aided considerably by the sublime Tony-winning performances of Laura Benanti and Boyd Gaines. Over at Lincoln Center, Bart Sher directed what is probably the best production of a musical I’ve ever seen. Superbly cast, thrillingly sung and acted – and that orchestra of 30. I couldn’t ask for a better week at the theatre (interspersed between the two were favorite flops Juno and 1600 Pennsylvania Avenue/A White House Cantata).

May 11, 2008. Two-fold. Brunch at Joe Allen’s and No No Nanette at City Center Encores. Each in itself was an event worth rejoicing, but the combination made it a day for the ages. It was the first gathering of the Bloggers Who Brunch (as I like to call our gatherings). At that point, I had only been blogging for seven months and it was the first time I was aware that there were other people whom I didn’t know that were reading what I had to write! It was the start of many wonderful friendships that I continue to cherish wholeheartedly. The afternoon was spent SarahB in my first visit to the TLC before we took in the fabulous production of Nanette, which is still the best of the best when it comes to the Encores productions I’ve seen – and the only one I think deserved a Broadway transfer. The performances were all top-drawer (esp. Sandy Duncan and Beth Leavel), the choreography was sublime as were the costumes and orchestrations and… well everything. The evening ended at Seppi’s afterward with many of the folks from brunch, all of us smiling and singing “I Want to Be Happy” until the wee hours.

March 15, 2009. I had seen Angela Lansbury make her Broadway return in Terrence McNally’s Deuce opposite Marian Seldes and I would see her sublime portrait of Madame Armfeldt in the revival of A Little Night Music. But there was something extra-special about her Tony-winning performance as Madame Arcati in Blithe Spirit. I never would have imagined Lansbury would have such a Broadway renaissance, but am so grateful to have been here to witness it. As Arcati, Lansbury was an utter delight and continued to become even more entertaining as the run progressed. She nailed every laugh, gesture and indignant expression. And watching her improvise her spirit dance around the Condomine living room was worth the price of admission. This opening night was like something out of a 50s movie: tie and tails, elegant evening gowns and a party at Sardi’s. We maintained our own mad-cap party of sorts on the street and gleefully applauded the Liz Ashley as she got into her car (“I’m not in the show!”)

May 16 & July 26, 2009 – The Norman Conquests. I had been out of the country for the birth of my nephew when the announcements and the marquee went up and was a little surprised to see the play’s logo at Circle in the Square upon my return. I confess, I knew very little about Alan Ayckbourn’s trilogy of plays. But on a whim, I decided to take in a Saturday marathon of all three. It would become one of the most personally satisfying theatrical experiences of my life. A brilliant ensemble, impeccable direction by Matthew Warchus made these plays the funniest dramas or the saddest comedies I’ve ever seen. I was aching with laughter. I loved it so much, I had to be there for the final marathon which only cemented its place in my estimation. The ensemble was brilliant, but Stephen Mangan’s turn as Norman remains a personal favorite of all time.

September 18, 2009. I only knew of The Royal Family from its place in theatrical lore, but was excited to see the play at Manhattan Theatre Club. Sarah and I attended this early preview and were in awe. Jan Maxwell owned the stage as Julie Cavendish, in a sublime study in comedy. I also just adored Rosemary Harris as the aging matriarch, whose eleven o’clock moment took my breath away both times I saw the show. But more than the production itself, it was the way it made me feel – I loved the Cavendish dynasty and reveled in their love of all things theatre and would have loved to have been a member of the extended family.

December 12, 2010 – The final performance of The Scottsboro Boys. The performance was brilliant, as I knew it would be. However, it was the audience that surprised me this time. Before the show started, the audience gave composer John Kander a spontaneous full-house standing ovation – a gesture I’ve never seen in my ten years of theatregoing. At the curtain call, Kander toasted the late Fred Ebb, librettist David Thompson toasted the real-life Scottsboro Boys and director/choreographer Susan Stroman toasted the entire audience.

Every trip to the theatre is a memory for me, some good and some bad. (The Philanthropist, Bye Bye Birdie, The Ritz, Next Fall… but why dwell on the negative?) So here’s to the next decade and all the wonderful theatre it will bring.

“Episodes”

The Tony-winning revival of The Norman Conquests remains one of the greatest theatrical experiences of my life. Matthew Warchus’ production was so brilliantly realized at the Circle in the Square that I took in two full day marathons of the Ayckbourn classic, including the show’s final performance. (I was such a fan of the experience, I even stage doored a show for the first time in over four years).

All six performers were exceptional and if there was a Tony Award for Best Ensemble, they would have won hands-down. But one particular performer was my personal favorite: Stephen Mangan as the titular Norman, half sad-sack, half lothario who wreaks havoc on his family over the course of an eventful weekend at his wife’s family home. It was a display of sheer bravado and one of the most impressive performances I’ve ever witnessed. (And he should have won that Tony).

Mangan, a staple in British television and theatre, is going to be a familiar sight to American viewers this January when Showtime premieres its new series Episodes. The show is about married British writers (Mangan and his Green Wing co-star Tamsin Greig) who find themselves moving to California to adapt their hit series (about a posh boarding school) for American television. The couple is forced by studio pressure to cast washed up Matt LeBlanc (as himself) in the lead role and find themselves dealing with Hollywood eccentrics. I’m looking forward to tuning in.

The series premieres on Showtime January 9, 2011 at 9:30PM.

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Theatrical Highlights of the Year

1. Reasons to Be Pretty. May 13, 2009 @ the Lyceum Theatre. Never make an unfavorable comparison between your girlfriend and the new hottie at work. That was Greg’s, the hero of Neil LaBute’s play, big mistake. After the news gets back to his girlfriend, it opens up a maelstrom of life-changing and affirming moments for his character, who ultimately learns to man up. The four-hander was well cast, with Tom Sadoski standing out above the rest but overshadowed by the more mature four-hander down the street that seemed to show what how these characters would end up in about 15-20 years (God of Carnage).

2. Mary Stuart. May 19, 2009 @ the Broadhurst Theatre. There’s nothing like watching two of the most fascinating figures in British history duking it out live onstage. Imported from the Donmar in London, Janet McTeer and Harriet Walter dominated in a spare, riveting staging of the Schiller play (in a new adaptation by Peter Oswald) directed by Phyllida Lloyd. Yeah, there were men onstage (namely John Benjamin Hickey and Nicholas Woodeson) but this revival belonged to both leading ladies in superlative performances. The play also sparked six months of bliss as Sarah, Kari, Roxie and other bloggers participated in “The Summer of Harriet Walter.”

3. Hair. May 24, 2009 @ the Al Hirschfeld Theatre. Well, I guess we all have dreams of making our Broadway debuts. I never actually thought I’d get to sing and dance onstage but lo and behold the revival of Hair captured me in ways I never thought possible. I’ve never really been a fan of the show – until I took in this performance where I was overwhelmed by Diane Paulus’ exceptionally organic staging. It’s a special experience, and one of a lifetime. If you see this revival, it’s imperative you make your way to the stage for the curtain call. You may never be the same.

4. The Royal Family. September 18, 2009 @ the Samuel Friedman. I have a soft spot for older comedies, particularly those set in NYC in the early half of the 20th century. Jan Maxwell led the cast with a superlative comic performance for the ages as the put-upon Julie Cavendish, a diva at wit’s end. Rosemary Harris supplied moments of hilarity and haunting poise as the family matriarch. The comic exploits of an eccentric, loving and larger-than-life theatrical dynasty were explored by Kaufman and Ferber in their 1927 comedy (a take-off on the Barrymore family) The revival was lovingly directed by Doug Hughes (and oh, what a set! And those costumes!) I’ve rarely wanted to become part of a fictional family onstage.

5. Superior Donuts. October 1, 2009 @ the Music Box Theatre. It’s not easy following up a Tony and Puliter Prize winning juggernaut, but Tracy Letts’ second Broadway outing was another import from Steppenwolf. This time, Tina Landau directed a tight ensemble in a much gentler comedy about the unlikely father-son relationship between disconnected former hippie Michael McKean and energetic, idealistic Jon Michael Hill. The story, which presents a more optimistic vision of America than August: Osage County is less ambitious and wholly different, offering an unexpectedly moving and often quite funny new play.

6. Finian’s Rainbow. October 8, 2009 @ the St. James Theatre. I thought the show was charming at Encores, but didn’t think it warranted a transfer to Broadway. Those thoughts were dashed when the show started previews in October. The cast was augmented by stellar replacements, including Christopher Fitzgerald’s winning turn as leprechaun Og. Warren Carlyle directed one a valentine to old-fashioned, Golden Age musicals. The production took on its reputation as a badly dated show and emerged one of the freshest and best reviewed experiences of the season. It also provided the luminescent Kate Baldwin her first leading lady turn on the Rialto.

7. Ragtime. October 23, 2009 @ the Neil Simon Theatre. I’ve waited ten years for the chance to see this musical, and in the first-ever Broadway revival I found myself inordinately moved by the staging, scenography and performances. Stripping away some of the excesses that are attached to the original lavish production, this import from the Kennedy Center (directed by Marcia Milgrom Dodge) was actor-driven and a most memorable experience. Quentin Earl Darrington makes an auspicious debut as Coalhouse Walker Jr and Christiane Noll is a revelation as Mother.

8. The Norman Conquests. May 16, 2009 @ the Circle in the Square Theatre. I tend to make this list chronological, so as not to play favorites. But I can’t help but saving this best production for last. Of all the theatre I saw in the calendar year, this exceptional revival of the Alan Ayckbourn classic was the best. In fact, it may very well be the best I’ve seen in my life, but only time will tell. I took in two marathons of the show, and if time had permitted would have done it more. It was seven hours of hilariously heartbreaking theatre, and found myself sad that it was over by the end of the evening. The show was imported from the Old Vic and featured the brilliant six person ensemble, one of the best on stage this year. This production, directed by Matthew Warchus (and which trumps his Tony-winning work in God of Carnage), reminded me why I loved theatre in the first place and has inspired me to make certain changes in my life over the past six months. I only hope you were as lucky as I was to see such a magnanimous theatrical event.

Shows I want to see next year: The Addams Family, A View from the Bridge, La Cage Aux Folles, Promises Promises, Memphis, Race, Lend Me a Tenor, When the Rain Stops Falling, Sondheim on Sondheim, Enron, A Behanding in Spokane, The Miracle Worker, Mr. and Mrs. Bridge, Next Fall, Present Laughter, Time Stands Still, Collected Stories, Fences, and Wishful Drinking.

Auspicious Debuts, 2009

Looking back as my year of theatregoing ends, I wanted to give a shout out to those performers in 2009 whose debut work made me sit up and take notice. Some are unknowns taking their first steps, others are established stars coming into NY theatre for the first time. There is no rhythm or rhyme to the list, just stream of consciousness. Here goes:

Seth Rettberg, Avenue Q: Performing the roles of Princeton and Rod on the national tour, and assuming understudy duties during the final months of the Broadway engagement of this little show that could, Rettberg assumes the mantle of leading man of this motley crew of subversive puppets. Mr. Rettberg gave a high energy performance, complete with offbeat charm and winsome presence, not to mention his pleasant pop tenor voice and stellar comic timing.

Jon Michael Hill, Superior Donuts: This is the Broadway debut this year that will one day give you bragging rights. Mr. Hill, a Steppenwolf Ensemble member, takes this new Tracy Letts play, puts it in his pocket and walks away with it. As Franco, the young, idealistic African American who reinvigorates star Michael McKean, Hill displayed skill and professionalism far more advanced than many of his peers. He has made a name for himself in Chicago, but his NY debut is only the first of what looks to be many great career successes.

Susan Louise O’Connor, Blithe Spirit: Most people don’t walk away from this classic Noel Coward play talking about Edith, the maid. But in this charming, but unevenly cast revival, Ms. O’Connor made many in the audience do just that. As the nervously eager maid in the Condomine household, the young starlet made an indelible comic impression with what little stage time she had, particularly a showstopping sequence in which she cleared a breakfast table. It cannot be easy to be in a play with such star quality, but where Rupert Everett and Christine Ebersole failed in their comic characterizations, Ms. O’Connor picked up their slack and then some.

Geoffrey Rush, Exit the King: He’s a world famous actor and an Oscar winner but that doesn’t stop the excellent Australian actor from making my list. Ionesco isn’t really my cup of tea. That said, I don’t know if I’ve ever been haunted by the memory of a performance more than I have been by Mr. Rush’s auspicious NY theatre debut. I’ll long remember Mr. Rush’s physicality as his King Berenger, fighting to keep his own life up until the very end of the play. I vividly see the actor, decked out in garish makeup and wearing pajamas and a crown, dancing around the stage, leading a march, etc. He was surrounded by choice costars including Susan Sarandon, Lauren Ambrose and the perennial favorite Andrea Martin. While all performed well, the evening belonged to Rush, who ended up taking home every award possible for his comic and tragic work. Those final moments, as Berenger slowly gives in to his mortality, will stay forever etched in my mind.

Amelia Bullmore, Jessica Hynes, Stephen Mangan, Ben Miles, Paul Ritter, Amanda Root, The Norman Conquests: I couldn’t just pick one here, it wouldn’t be fair given that ensemble nature is what made this production so successful. In what is one of the great productions of the decade, this revival of Alan Ayckbourn marked the American debut of this brilliant ensemble, all of whom transferred from the sold out run at the Old Vic late last year. While these six actors are well known for their theatre, TV and film work in London, they are not so well known here. However, the six actors, with director Matthew Warchus created one of the most vibrant and astounding experiences I’ve ever had inside any theatre in my life.

Quentin Earl Darrington, Ragtime. It’s not easy filling the shoes of Brian Stokes Mitchell, especially given the indelible mark the actor left on the role of Coalhouse Walker, Jr. in the original Broadway production. Mr. Darrington comes to Broadway in the part, after having played it in Marcia Milgrom Dodge’s acclaimed Kennedy Center production and is one of the many strengths in this actor-driven revival of a contemporary classic. Large in stature and voice, Darrington provides a gentle presence in the first act, and his fall into terrorism is all the more devastating as a result.

Alexander Hanson, A Little Night Music. The lone holdover from the original London production of this Trevor Nunn revival, Mr. Hanson strikes all the right notes as Fredrik Egerman. Expecting to be overwhelmed by Catherine Zeta-Jones, I was surprised at her mere adequacy especially when stacked against his superb, nuanced performance. Often the unsung lead of the show (let’s face it, most people talk about the ladies in this musical), Mr. Hanson strikes the right balance as the aging lawyer in search of his remote youth.

Honorable mentions: Noah Robbins, Brighton Beach Memoirs; Jude Law, Hamlet; Donna Migliaccio, Ragtime; Julia Stiles, Oleanna.

Random Thoughts on This and That

I’ve been looking over the upcoming season and I gotta say I’m most excited this fall for Hamlet with Jude Law as it’s my favorite Shakespeare tragedy (and I’ve never seen it live), Oleanna because I enjoy Bill Pullman, A Little Night Music because of its rumored cast and the Kennedy Center import of Ragtime. Did I fail to mention Superior Donuts? After August: Osage County, I’ll see anything Tracy Letts writes. I’m trying to think if there’s anything else that I’m forgetting about… Is there anything in particular you are looking forward to?

I’m watching the the 1955 film version of Oklahoma! as I type. For those who don’t know, the film version of the Rodgers and Hammerstein smash was shot twice, once in CinemaScope (an anamorphic lensed widescreen system using an aspect ratio of 2.55:1) and in the brand new Todd-AO, a large format 70mm system developed by Mike Todd. Todd-AO used a wide-angled lens, and a deeply curved screen which was meant to rival the expensive and impractical three camera Cinerama. Todd-AO didn’t require anamorphic image compression and displayed a spherical aspect ratio of 2.20:1.

Each scene was shot twice in each process which means there are two versions of the film available. The most notable difference between the two are the opening credits, but there are also differences in line readings and camera angles. When it originally opened in 1955, the Todd-AO format played the major roadshow engagements in NY and other major markets. The traditional CinemaScope version played other theatres throughout the country. The CinemaScope version made the initial video releases, but was supplanted by the restoration of the Todd-AO print, which was marked with superior sound and image quality. In 2005, 20th Century Fox released a 2-disc special edition containing both versions, though for some reason the Todd-AO transfer doesn’t improve on the 1999 release, except in making it 16:9 friendly. There’s a comprehensive website called the American Widescreen Museum which goes into explicit detail on the history and technological details of these different processes that are for the most part no longer used in filmmaking.

This video of Gloria Grahame singing “I Cain’t Say No” gives you an idea of the different versions:

The following year, Carousel was shot twice in CinemaScope and a process called CinemaScope 55 in an attempt to combat Paramount’s VistaVision process. The new CinemaScope process was an experimentation with 55 mm film that was heralded in both Carousel and The King and I. The idea of shooting Carousel twice is what led Frank Sinatra to quit the project, since he didn’t like the idea of shooting two films for the price of one. Ironically enough, they abandoned the 35mm shoot during filming. CinemaScope 55 was actually never really used: both R&H films were shot in 55mm stock and had their prints reduced onto regular 35mm, since it was more feasible than requiring movie houses to accommodate the unusual film size. From what I understand, the 55mm prints were never even used.

I’m still unable to get The Norman Conquests out of my head. So I decided to watch Table Manners from the 1977 BBC adaptation. It’s an entirely different animal from the recent revival, but it is still quite extraordinary. The television version stars Tony-Award winner Tom Conti as Norman. After Stephen Mangan it is seriously difficult to imagine any other actor in the part and unfortunately Mr. Conti’s performance suffers (The problem here is he’s not nearly as likable in the breakfast scene, in fact he’s downright irritating). David Trougham is a bit too stiff for Tom. However, Richard Briers makes for a game Reg, while Fiona Walker scores as Ruth. Penelope Keith won the bulk of the praise and a BAFTA award for her turn as Sarah (deservedly so – she was the only original London cast member to reprise her role onscreen). It was particular fun discovering that Jessica Hynes’ fellow Shaun of the Dead actor Penelope Wilton played the same role here in the TV adaptation (and quite well). Will be getting around to Living Together and Round and Round the Garden before long.

Sadly, this is out of print on DVD in the UK and has only been released on VHS in the US. BBC America, get on it! However you can get a sampling of it on youtube. Here are the first ten minutes of Table Manners:

There are two weeks left for you to catch Mary Stuart. If you haven’t had the opportunity, run don’t walk to the Broadhurst. Janet McTeer and Harriet Walter are giving titanic performances as Mary and Elizabeth I, respectively. It’s worth the price of admission for the first scene of the second act alone, which depicts the fictional meeting between the two monarchs. The two leading ladies are breathtaking and deserve to be seen, again and again and again. Plus, there’s a fantastic discount code for the rest of the run. This one is not to be missed.

I’m off to Long Island for the weekend. A friend is getting married in Centereach (sadly no East Hampton this trip) and the honor of my presence has been requested, so I will resume my blog perch on Sunday evening. I’ll be thinking of my friends spending some quality time with those titans at the Broadhurst tomorrow while enjoying marital libations.

He Came, He Saw, and Oh, How He Conquered


“I only wanted to make you happy!”

I kept spouting that line at Roxie all day Sunday in my best (worst) English accent. She didn’t really know why I was saying it, but all the same she put up with my antics as usual. For those unfamiliar with The Norman Conquests, or more specifically with Round and Round the Garden, that is the final line of the entire trilogy of plays delivered by Norman at the end of a most hilariously heartbreaking weekend experienced by Norman and his rowdy gang of in-laws.

Truth of the matter is, while Norman drove his family to the brink of exasperation, he and his dysfunctional family (plus one veterinarian) charmed the hell out of audiences in both London and New York. Going back to see it one more time only cemented my initial reaction. If you had the opportunity to spend time at the Circle in the Square this past spring, you know what I mean. If you didn’t, I must say you should be kicking yourself right now for missing the best production of the 2008-09 season.

All six actors were exemplary. I was asked the question “Which is your least favorite?” And there was no way I could begin to answer it. Each performer brought so much to their characters, grounding then with brutal honesty that heightened the emotional stakes. The truer the performance, the more hilariously painful it was.

Ben Miles’ sad sack Tom was just as slow on the uptake, Paul Ritter, whose ass was the subject of the ITBA acceptance speech was as exasperated with his wife as ever, dropping acerbic quips like hydrogen bombs. Amelia Bullmore’s Ruth was more fascinating to watch as she patiently found herself acting more as a mother to Norman rather than a wife. Jessica Hynes is the caregiver of the unseen matriarch, frustrated in her loneliness and seeking an escape even if it is in her brother in law. Amanda Root turned the waspish harridan into an art form with the bossy, high-strung Sarah. Finally, Stephen Mangan was just all childlike innocence, unhappiness and unbridled sexuality rolled into one larger than life star turn. Though Tony voters decided that Roger Robinson gave the performance of the season in Joe Turner, Mr. Mangan, who should have won, gave a performance for the ages.

Roxie and I met up with Kari, who was also returning for a return visit and together we enjoyed our day immersed in the saga of a weekend holiday turned on its ear. The three plays are presented in their suggested order, starting in the morning at 11:30 with Table Manners, taking place in the dining room of the house. The second, Living Together moves the action into the living room (with the infamous rug…). And the final play in the trilogy is Round and Round the Garden that moves the action outdoors. By the time all is said and done that is 7 1/2 hours of theatre over an 11 hour spread.

It’s been said that any one of the plays can be seen on its own, or any combination in any order. However, I must stress that while the a la carte option sounds like a good idea, the full course trilogy marathon days truly allow for an audience member to experience the full exhilaration of the works. Table Manners introduced the characters and provides ample exposition for the remainder. It also doesn’t hurt that the characters in the first scene talks about the unseen Norman at such length, you cannot wait for him to enter. Living Together is still riotous, but provides something of a breather for the audience. In the middle play, there is more attention paid to the underlying problems souring the marriages, adding to the dramatic weight anchoring the characters in this situation. The last play fills in the final gaps, and is a raucous free for all with some of the funniest and most farcical moments of the series, as well as having the first and last scenes of the trilogy’s chronology.

Being the last marathon I had anticipated the entire day being sold out. However, Table Manners was not. Then Kari wisely reminded me it was a Sunday morning in New York City, most people are at church or downing their complimentary mimosas at brunch. Fortunately Roxie and I were seated with some marathon folks, so we had some friendly chatter with them. However there was a couple to our right who I’m almost convinced were apparitions. They didn’t crack a smile or show any response at all during the three plays, not once. After each play, they would mysteriously vanish without a trace. I’m surprised they would stick around for the entire day if they were that disinterested. Fortunately it did nothing to detract us from enjoying the actors and production onstage.

The afternoon show was almost sold out and I’m guessing a lot of seats were filled courtesy of TKTS. Part of the marathon experience that makes it so ideal is that you are already familiar with the characters, their quirks, their faults, etc. If you’ve just seen the earlier play, bits and pieces will be funnier to you than Joe and Jane Smith showing up for the first time. The rows behind us were such people, one even commenting “This must be something to do with the first one.” Folks, they were not wrong.

The final play, also the final performance of this entire production, had a house brimming with excitement and energy. Before the start of the play I realized that there was not a single empty seat to be had, and it was a standing room only crowd. This was a performance filled with friends making another trip to that house somewhere near East Grinstead to cheer on superlative acting and direction. Each actor received extensive entrance applause on his or her entrance. And then we were off on one final side-splitting, melancholic ride.

The curtain call was met with an instant standing ovation, as we cheered on this vibrant ensemble brought together in pure alchemy by the theatre gods and under the direction of genius Matthew Warchus (whose Tony should have been for this not God of Carnage). The standbys emerged from the wings to present each with flowers and a stuffed cat (I didn’t see if there were bandages on the paws). The actors took an immediate second call as is usually the case after the marathon. The house lights came up, and while some audience members got up and left enough of us stayed firmly planted at our seats applauding. The ovation surged louder than before prompting a third and final call for the actors. Since it was performed in the round, the actors bowed in each direction of the audience. Whenever they turned to another section, the cheers were especially stronger. I am rarely one to be vocal at a curtain call, but I couldn’t begin to tell you how many times I called “Bravo!”

I still cannot pick if one play is better than the rest as a stand alone. For me, I still think of the entire trilogy as a mammoth three act play and best experienced as such. You could get away with seeing one, but if you enjoyed it you wouldn’t want to just stop there. The entire trilogy weaves together a tapestry of character and pathos in such a clever and unique way that seeing it all in one sitting is the definitive audience experience.

Alan Ayckbourn’s preface in the published version of the script talks about how the plays came to be written over the course of a single week (!) and the distinctive tones of each. He ends the foreward with this, which is pretty much in line with what I feel about the Norman trilogy:

“This crosswise way of writing them proved very satisfactory though of course made it quite impossible for me, even today, to really judge their effectiveness downwards or indeed to assess, beyond certain limits, whether the plays stand up independently. This is not, I’m afraid, a problem that one single individual can resolve. As soon as one play is read or seen, the other two plays are automatically coloured and affected by the foreknowledge gained from the first – which may sound like some sort of warning, though, in this case I hope, a little knowledge is a pleasurable thing.”

Afterwards we met up with new friends Eden, Lauren and Landice outside as I chose to stage door a production for the first time in over three years. The actors were lovely, gracious, witty and warm (and exhausted) as they signed and posed for pictures with those few of us who waited. It felt nice to be greeted with warm recognition by the three leading ladies, with whom I shared a most memorable elevator ride only a couple weeks before. I don’t normally give in to the stage door, but I had to tell them one last time how much I appreciated the performances and the production. Plus, I wanted to wish them well as all six were flying back home to England the following morning.

Norman only wanted to make us happy, and he did. Strike that. They all did.

Entirely Inappropriate Viewing Tips from the Author:

If you are in the process of reading this, the chances are that you are already about to see, are in the midst of seeing, or have already seen, at least one of the plays that form The Norman Conquests. In which case, this advice is not for you. Do not read on.

For those who have seen none of the plays but may be wishing to do so, it is hoped that the following notes may prove useful.

The first thing to remember is, understandably, don’t see Table Manners first. This will give you a wrong time sequence and will only confuse you when you come to see, say, Living Together, which, incidentally, you are strongly advised not to see second. Ideally, Round and Round the Garden should not be seen before you have seen Table Manners – but do not, on the other hand, fall into that old trap of seeing Round and Round the Garden after Living Together as this again will confuse the sequences of dramatic events. Do not see Living Together first as this will severely curtail a lot of the pleasure you gain from seeing Table Manners for the first time which latter play, for maximum enjoyment you should try and save till the end.

In short, do try and see all three plays first, or, if you really can’t manage this, last. This way you will avoid any disappointment. Like most things in this world, there is a logical progression i.e. parts 1, 3 and finally of course, 2.

-Alan Ayckbourn

This poster was hung in the lobby of the Circle in the Square Theatre for The Norman Conquests revival. Many thanks to Kari for the photo.

"The Norman Conquests" says goodbye

I wasn’t the only one who was there the other day to spend time with the cast of The Norman Conquests. Broadway.tv talked to all six about their experience.

This weekend is your final opportunity to see a most brilliant ensemble in one of the most thrilling productions Broadway has seen in quite some time. I’ll be at the Sunday trilogy marathon to bid my six favorites a fond farewell. I hope to see you there.

Meet the Press

“I haven’t brought you both here just for a tea party…”

Countess Aurelia wasn’t kidding! As some of you might be aware, I am part of the Independent Theater Bloggers Association. Some of you might not know that I volunteered to be its membership director. One of my first assignments was to get an acceptance speech from The Norman Conquests which was voted Best Revival of a Play by our organization.

In terms of getting the actual acceptance speech, I was pretty much clueless how to proceed so I dropped a note to the show’s press agency (those fantastic folks at Boneau/Bryan-Brown). They invited me down to Sardi’s for a brief farewell toast (with tea) for the cast, as the production ends its limited run on July 26 and the company of British actors make their way home.

So here’s another series of firsts! It was my first time at any sort of specific press function, which is surreal in itself, let me tell you. People are gathering with their fancy cameras and video equipment. There I am representing the blogosphere with the mighty flipcam, which I have to say is a blogger’s best friend. Unlike opening nights and red-carpet events, this one was considerably low-key. Everyone was relaxed and the atmosphere most congenial.

The brilliant and talented cast of six arrived at the fourth floor of Sardi’s (another first!) and stood for a quick group shot surrounded by windowcards, then they sat down for a cup of tea and freshly baked chocolate chip cookies (though it was commented that cucumber sandwiches would have been more traditional, SarahB we needed you!!) after which the cast signed several posters for BC/EFA.

Finally, it was time for me to get what I came for. I had traveled 50 miles on a mission to get 30 seconds worth of footage and come hell or high water I was going to get a damned good acceptance speech! Jessica Hynes was elected by the group to accept on their behalf. We moved ourselves to the corner by the bar to quickly film it.

Well it’s a wonder the camera wasn’t shaking as I stood there suppressing extreme laughter. I had no idea what Hynes was going to say and her speech took me completely by surprise. We got it all in one take and I continued to laugh myself silly. After getting out my fanboy appreciation for the hilarious Shaun of the Dead (she’s Yvonne!), the two of us talked for about twenty minutes about The Norman Conquests, the other shows playing (we zeroed in on God of Carnage and Reasons to be Pretty), comparing NY and London theatre and touching on, of all people, Patricia Routledge. She talked about what it was like to work in NY and the genuine appreciation at how the entire cast has been embraced by the Broadway community.

In those brief minutes she talked about the personal fulfillment she gets from performing live in the theatre, involving herself in the process of rehearsal and performance and how it’s one of the most satisfying aspects of her career. I asked if she’d like to come back to work onstage in NY and she said, “Oh, yes. Definitely!” I look forward to the opportunity to see all six onstage again.

The event lasted no more than 45 minutes, which gave me a chance to observe diligent press agents at work. Even more surreal were the show’s producers in attendance introducing themselves to me. Talk about a moment where I stopped and thought, “Wow, if they could see me now…”

Afterwards, I shared the elevator ride to the street with the three gracious and lovely leading ladies. It was a personal thrill to be able to tell them how much I enjoyed The Norman Conquests and the sort of exhilarating experience the marathon performances were like. I reminded Amelia Bullmore we had met at the Theatre Worlds awards and had had the opportunity to tell her then how much it meant to me (she remembered!) and then turned to Amanda Root and said, “We haven’t met yet, but I love you.”

I told them that myself and other bloggers were coming back to the last marathon and we discussed how lots of fans like to make a sort of pilgrimage to a final Broadway performance. Root told me I should also come to the second to last marathon, to which I replied, “Don’t tempt me.” It’s a show I would gladly go to again and again if I could.

When we got to the street, I thanked the actors for their excellent work and their time. It was Wednesday, so they were between shows, so I wished them well with their evening performance before heading home, freshly pumped with adrenaline and entirely smitten with the three charming actresses.

It was an invigorating way to spend an afternoon, with some of the most talented people on the boards in NY. And I implore you, if you’ve not had a chance to see The Norman Conquests at the Circle in the Square, get your tickets now. There are only three marathons left in the run, and that is the best way to experience it.

Meanwhile, here is Jessica Hynes’ rather cheeky ITBA acceptance speech: