The Drama Desk Awards, held Sunday evening, were once again shown via web cast on Theatermania. I recall the time they used to show them on PBS, but I guess that's ancient history at this point. Anyway, this year the quality of the live stream was better than ever. However, from a technical standpoint there were some unusual shots, angles and closeups. I know it takes place in a glorified high school auditorium, but can't they place the winners closer to the stage? Most of the time was filled up waiting for them as the presenters looked out during what seemed dead air.
The ceremony itself was rather uninteresting on the whole. Patti LuPone was an adequate host, who got in a couple of laughs but was really just there to keep things moving (at a clip). No performances, nothing too too exciting in terms of winners. The onstage pianist played far too many bizarre pieces, most jarringly "Don't Fence Me In" every time Fences won an award. Many of the wins had me nonplussed; I was genuinely bored at a second tie between Montego Glover and Catherine Zeta-Jones for Best Actress in a Musical. (They shared the prize with the OCC too). Let's not go for the trifecta on that front, folks. However, there a couple of surprises including Christopher Fitzgerald's win for Finian's Rainbow. Santino Fontana's unexpected win for Brighton Beach Memoirs provided the most memorable of all acceptance speeches. He was genuinely shocked and completely amazed, and it added to its charm
Another surprised winner was Jan Maxwell, who won for Best Actress in a Play for her superlative comic turn in The Royal Family. She's likely to be bested by Viola Davis in Fences (who was a Featured winner here) at the Tonys, so it was nice to see her recognized here for that work (Maxwell is a Drama Desk regular, but a Tony bridesmaid). She was very emotional and immediately apologized, "I'm sorry, I'm usually an aloof bitch. Surprises get to me."
Martha Plimpton inadvertently established a memorable running gag following a spirited non sequitur about Mitzi Gaynor complimenting her shoes. Other Mitzi comments would follow, but the biggest laugh went to Outstanding Solo Performance winner Jim Brochu who started his acceptance with "Oh, and Mitzi Gaynor just told me to go fuck myself." Brochu, who won for his turn as Zero Mostel in Zero Hour declared F. Scott Fitzgerald a big fat liar, stating, "there are second acts."
For a ceremony that boasts recognition of Broadway, Off-Broadway and Off-Off Broadway, the deck seems quite stacked in favor of Broadway. I'm not saying it's a crime, but it just seems that you're more likely to get it if you're a Main Stem show. There were five major Off-Broadway wins - The Scottsboro Boys won for lyrics, Bloody Bloody Andrew Jackson won for its book and When the Rain Stops Falling won for its sound design. Love Loss and What I Wore took home Unique Theatrical Experience and Zero Hour won Outstanding Solo Performance. Other than that, it was all Broadway. Scottsboro and Yank! are now ineligible for Drama Desks next year, so automatically next year's nominations should be interesting.
Seeing as it was the Lost finale, there were fewer fellow watchers on Twitter and environs this year. However, participants inside the auditorium were encouraged to tweet so that kept it somewhat interesting throughout the night. Let's hope the Tony Awards are more interesting.
Showing posts with label Jan Maxwell. Show all posts
Showing posts with label Jan Maxwell. Show all posts
Tuesday, May 25, 2010
Tuesday, May 4, 2010
Quote of the Day: Ben Brantley on Jan Maxwell
Speaking of the “Royal Family,” I’m especially heartened that Jan Maxwell was nominated for best actress for her smart, delicate and eccentrically witty performance in that play, as well as for her supporting work in “Lend Me a Tenor.” Ms. Maxwell is one of the best and most undervalued actresses we now have in the New York Theater, and if this helps keep her in our line of vision, I’m all for it. And I hope she wears a really terrific dress to the Golden Globes – I mean, the Tonys. Psst, Ms. Maxwell, I know somebody who works at Chanel.
- Ben Brantley, in his Tony nominations round-up
Sunday, April 4, 2010
"Lend Me a Tenor"
Leaving the Music Box Theatre after seeing the infectious new revival of Lend Me a Tenor, I found myself unable to stop humming "La Donna รจ Mobile," the famed aria from Rigoletto. No matter what I did or what song I played, it remained at the back of mind - buoyant, effervescent and melodic. The aria is heard as the house lights go down and curtain comes up on Ken Ludwig's popular farce, instantly grabbing you and immersing you into the roller coaster ride of sidesplitting comedy about to enfold onstage. Like that aria, this new production sings out with gusto that will leave you buoyant, effervescent and smiling long after you have left the theatre.
The original production was a big hit in 1989. Starring Victor Garber, Tovah Feldshuh, and Tony-winning Phil Bosco, it ran for over a year and instantly became a staple in stock and community productions. (Its world premiere was in London in 1986). The plot in brief: the Cleveland Grand Opera is expecting a world-renowned Italian tenor for their gala. When he becomes indisposed, hijinks, misunderstandings and a hell of a lot of door slamming ensues. As a farce, the play itself is merely good, not great. Ludwig's text as a whole feels more like a rough draft of a greater comedy that has yet to be realized. There are some missed opportunities (especially with the Bellhop, who should have more to do) and its ending seems somewhat abrupt and rushed. However, this production is so laugh out loud hilarious and features a top notch ensemble of actors, that it's incredibly easy to both forget and forgive the shortcomings of its writing.
Anthony LaPaglia shines as Tito, the egomaniacal tenor in question whose propensity for women and booze causes most of the evening's chaos, and is especially memorable for the fearlessness of his physicality, particularly in the scene where he gives the impressionable would-be tenor Max a lesson in voice and relaxation. It must be seen for full effect. Tony Shalhoub is in full cigar-chomping mode as the temperamental producer Sanders. Jay Klaitz is a comic revelation as the endearing Bellhop (and operaphile). Movie star Justin Bartha makes an impressive Broadway debut as the nebbishy Max, who vacillates between the sadsack producer's assistant and confident opera diva when masquerading as Tito with considerable aplomb.
Mary Catherine Garrison winningly proves that ingenues have dirty dreams as Saunders' daughter and Max's girlfriend, and whose scream in the second act is one of the funniest moments I've seen on this or any other stage. The ever-reliable Jennifer Laura Thompson, always a welcome presence, taps into her quirky comic skills as the seductively ambitious diva Diana. Brooke Adams is far too striking to convince as a dowdy, past-her-prime matron, but the actress - mercilessly decked out like the Chrysler building - scores some big laughs.
Jan Maxwell effortlessly walks away with the entire evening as Maria, Tito's fiery, jealous wife. Maxwell, who was last seen giving a bravura star turn in the shimmering revival of The Royal Family, hits another home run as she rages, seethes and breaks down with an exaggerated Italian accent. Whenever she is onstage she is in total command, somehow maintaining her character's elegance in spite of her antics. She brought the first act to a crashing halt by merely hissing. After the disappointments of To Be or Not to Be and Coram Boy (which deserved to be a hit), it is especially welcoming to see Maxwell having such a banner season. Ms. Maxwell is one of the unquestionable treasures of the NY theatre scene, equally adept in both plays and musicals. If there is a God, Maxwell should be nominated for a Tony (for this and The Royal Family) - and she should win.
Then, of course, there is the director. Stanley Tucci, in his first Broadway directing gig, is as gifted a director as he is actor. His task is not an easy one; staging a successful farce is incredibly difficult as it involves laser-sharp timing from the loudest door slam to the tiniest gesture. His work here is infectious and inventive, bringing lightning pace and visual gigs, but also a certain touch of humanity that wouldn't normally seem possible in pure farce. Tucci's directorial touch is solid 14 karat gold. Anyone sitting center orchestra should also watch out for flying objects - all spit takes and such gags are directed out at the audience, a rather zany, inspired touch from a genius actor turned director.
John Lee Beatty's sumptuous set captures the elegance of a posh hotel suite in the 30s, so vividly realized its as though a penthouse was cut in half and placed onstage. Martin Pakledinaz has once again outdone himself with his period costumes. His eye-popping outfits worn by his leading ladies are especially memorable (the image of Jan Maxwell casting off her fur-lined wrap is a vivid image that will aways stick with me).
Lend Me a Tenor is undoubtedly the hit comedy of the season, and the funniest thing this side of The Norman Conquests. I look forward to making another visit, especially to revel in the genius of Ms. Maxwell, but also in appreciation of Mr. Tucci's immense achievement. Oh - and for that tour de force curtain call, which is worth the price of admission alone.
Thursday, December 31, 2009
My Favorite Performances, 2009
Jayne Atkinson, Blithe Spirit. The character of Mrs. Ruth Condomine in the Noel Coward classic isn't usually the wife audiences leave the theatre talking about. That honor tends to go to the actress playing the devilishly deceased first wife Elvira. The model of upper classic British waspishness, Atkinson gave one of the most underrated and truly memorable performances last season. As Ruth, the actress dominated her scenes with Rupert Everett and Christine Ebersole with tweedy precision and gave a performance that got funnier and more vivid throughout the run of the play.
Jon Michael Hill, Superior Donuts. I recall hearing from friends when the play first opened at Steppenwolf, that Mr. Hill was a name to remember. His performance as the idealistic and almost fatally flawed Franco was the spark plug that really gave Tracy Letts' new (and gentler) comedy its legs. His chemistry with star Michael McKean was genuine, but it was the younger actor in his first major Broadway role who walked away with this show in his pocket. It's a performance that will one day give those who've seen it bragging rights.
Angela Lansbury, Blithe Spirit and A Little Night Music. It's a rare thing to be able to put an actor on your list twice, especially when one is a five-time Tony winning octagenarian. Ms. Lansbury is riding high on her late-career renaissance on Broadway. While reviews for both productions have been mixed-to-positive, Lansbury has received nothing but love letters from the critics. Playing two very different Madame's: the daffy, endearing Madame Arcati in Noel Coward's classic and the austere, disapproving matriarch nee courtesan in Stephen Sondheim's musical revival, Lansbury is the epitome of a star. She exudes grace, poise, charm and a rare star presence that outshines her fellow cast members (in both productions). She's already now in line for another Tony nomination and the possibility of a record-breaking sixth win.
Stephen Mangan, The Norman Conquests. Mangan's titanic comic performance in the Ayckbourn trilogy may be the greatest I've ever seen in all my years of theatregoing. Mangan's ability to take the irritable nature of Norman and garner the audience's sympathy and affection was nothing short of breathtaking, a stand out among one of the most uniformly excellent ensembles seen on Broadway this decade. As I've said before, all due respect to Joe Turner's Roger Robinson, the Tony Award should have gone to Mangan. At the end of the third play in the trilogy, he exasperatedly shouts "I only wanted to make you happy." Mr. Mangan's performance did, and how.
Jan Maxwell, The Royal Family. The stylish revival of the Kaufman-Ferber classic about a Barrymore-esque acting dynasty in NYC earned Maxwell some of the best notices of her already auspicious career as the flighty Julie Cavendish, the center of her eccentric family upon whom all burdens rest. In a bravura moment in the second act, Maxwell stopped the show both time I saw it with a comic monologue/breakdown that ended with the elegant, sophisticated Maxwell doing a faceplant into the lip of the stage. However, for evidence of her reality onstage, one only had to look at her reaction in the final moments as the actress finds her mother dead in the living room. I first saw the actress in her memorable turn in the short-lived Coram Boy in 2007. Fortunately, she gets to bring the funny to the upcoming revival of Lend Me a Tenor this March. (Honorable mention to Rosemary Harris for providing such comic support to Maxwell, and by providing an haunting eleven o'clock moment during the final scene of the play).
Janet McTeer and Harriet Walter, Mary Stuart. In this instance, I feel you can't have one without the other. They are only onstage together for about ten minutes of the play's three hour running time, but whenever one is onstage alone, the other is still deeply present. Both performances resonated with gusto: McTeer had the showier title role, with heightened, crowd-pleasing intensity while Walter had the quieter, albeit more interesting role of Elizabeth I. The symbiosis of their towering performances is what made the Donmar import a must-see revival last season.
Jason O'Connell, The Complete Works of William Shakespeare (Abridged). This year marked my first visit to Boscobel and the Hudson Valley Shakespeare Festival. I had also never before seen this comic romp through the Bard's entire folio, with room for improvisation, camp, cross-dressing and even audience participation. Performed by three actors (with one caustic prop mistress), O'Connell stood out with his comic flair and energy. The actor was the epitome of outrageous one moment, and the next stunned the audience to rapturous silence with a breathtaking delivery of "What a piece of work is man." Now, here I must also give an honorable mention to another performance of his: he was also playing Benedick in Much Ado About Nothing in rep at the same time. His performance there was also quite memorable and distinctly funny, but it was in the Complete Works that he really stood out. I look forward to going back to HVSF next summer to see what Mr. O'Connell will have in store for audiences.
Phylicia Rashad, August: Osage County. To say Rashad was a revelation as the pill-poppin', chain-smokin' mother from hell in Tracy Letts' brilliant three act drama would be a colossal understatement. Ms. Rashad finished out the Broadway run of the Tony and Pulitzer winner with a riveting and often terrifying performance, with nuances and touches that opened my eyes to parts of the script I thought I knew backwards and forwards. I will never forget being at the final Broadway performance; the one and only time Rashad played opposite Tony-winning Mattie Fae Rondi Reed.
Thomas Sadoski, Reasons to be Pretty. If there's one thing you should never do, it's tell your best friend you like your girlfriend because she has a regular face, not a pretty face. Sadoski's Greg learns that the hard way when he says that about Marin Ireland, which sets off a series of introspective, self-affirming events that turns the well-read, non-confrontational slacker into a man. LaBute's play is stinging, vicious and often violent. While Ireland walked away a critics' darling over her performance, which involved a gasp-inducing monologue at a mall food court, it was Sadoski who was the heart and soul of the play, leaving a lasting impression as he gives his job the proverbial figure and grows up as the lights fade out.
Jon Michael Hill, Superior Donuts. I recall hearing from friends when the play first opened at Steppenwolf, that Mr. Hill was a name to remember. His performance as the idealistic and almost fatally flawed Franco was the spark plug that really gave Tracy Letts' new (and gentler) comedy its legs. His chemistry with star Michael McKean was genuine, but it was the younger actor in his first major Broadway role who walked away with this show in his pocket. It's a performance that will one day give those who've seen it bragging rights.
Angela Lansbury, Blithe Spirit and A Little Night Music. It's a rare thing to be able to put an actor on your list twice, especially when one is a five-time Tony winning octagenarian. Ms. Lansbury is riding high on her late-career renaissance on Broadway. While reviews for both productions have been mixed-to-positive, Lansbury has received nothing but love letters from the critics. Playing two very different Madame's: the daffy, endearing Madame Arcati in Noel Coward's classic and the austere, disapproving matriarch nee courtesan in Stephen Sondheim's musical revival, Lansbury is the epitome of a star. She exudes grace, poise, charm and a rare star presence that outshines her fellow cast members (in both productions). She's already now in line for another Tony nomination and the possibility of a record-breaking sixth win.
Stephen Mangan, The Norman Conquests. Mangan's titanic comic performance in the Ayckbourn trilogy may be the greatest I've ever seen in all my years of theatregoing. Mangan's ability to take the irritable nature of Norman and garner the audience's sympathy and affection was nothing short of breathtaking, a stand out among one of the most uniformly excellent ensembles seen on Broadway this decade. As I've said before, all due respect to Joe Turner's Roger Robinson, the Tony Award should have gone to Mangan. At the end of the third play in the trilogy, he exasperatedly shouts "I only wanted to make you happy." Mr. Mangan's performance did, and how.
Jan Maxwell, The Royal Family. The stylish revival of the Kaufman-Ferber classic about a Barrymore-esque acting dynasty in NYC earned Maxwell some of the best notices of her already auspicious career as the flighty Julie Cavendish, the center of her eccentric family upon whom all burdens rest. In a bravura moment in the second act, Maxwell stopped the show both time I saw it with a comic monologue/breakdown that ended with the elegant, sophisticated Maxwell doing a faceplant into the lip of the stage. However, for evidence of her reality onstage, one only had to look at her reaction in the final moments as the actress finds her mother dead in the living room. I first saw the actress in her memorable turn in the short-lived Coram Boy in 2007. Fortunately, she gets to bring the funny to the upcoming revival of Lend Me a Tenor this March. (Honorable mention to Rosemary Harris for providing such comic support to Maxwell, and by providing an haunting eleven o'clock moment during the final scene of the play).
Janet McTeer and Harriet Walter, Mary Stuart. In this instance, I feel you can't have one without the other. They are only onstage together for about ten minutes of the play's three hour running time, but whenever one is onstage alone, the other is still deeply present. Both performances resonated with gusto: McTeer had the showier title role, with heightened, crowd-pleasing intensity while Walter had the quieter, albeit more interesting role of Elizabeth I. The symbiosis of their towering performances is what made the Donmar import a must-see revival last season.
Jason O'Connell, The Complete Works of William Shakespeare (Abridged). This year marked my first visit to Boscobel and the Hudson Valley Shakespeare Festival. I had also never before seen this comic romp through the Bard's entire folio, with room for improvisation, camp, cross-dressing and even audience participation. Performed by three actors (with one caustic prop mistress), O'Connell stood out with his comic flair and energy. The actor was the epitome of outrageous one moment, and the next stunned the audience to rapturous silence with a breathtaking delivery of "What a piece of work is man." Now, here I must also give an honorable mention to another performance of his: he was also playing Benedick in Much Ado About Nothing in rep at the same time. His performance there was also quite memorable and distinctly funny, but it was in the Complete Works that he really stood out. I look forward to going back to HVSF next summer to see what Mr. O'Connell will have in store for audiences.
Phylicia Rashad, August: Osage County. To say Rashad was a revelation as the pill-poppin', chain-smokin' mother from hell in Tracy Letts' brilliant three act drama would be a colossal understatement. Ms. Rashad finished out the Broadway run of the Tony and Pulitzer winner with a riveting and often terrifying performance, with nuances and touches that opened my eyes to parts of the script I thought I knew backwards and forwards. I will never forget being at the final Broadway performance; the one and only time Rashad played opposite Tony-winning Mattie Fae Rondi Reed.
Thomas Sadoski, Reasons to be Pretty. If there's one thing you should never do, it's tell your best friend you like your girlfriend because she has a regular face, not a pretty face. Sadoski's Greg learns that the hard way when he says that about Marin Ireland, which sets off a series of introspective, self-affirming events that turns the well-read, non-confrontational slacker into a man. LaBute's play is stinging, vicious and often violent. While Ireland walked away a critics' darling over her performance, which involved a gasp-inducing monologue at a mall food court, it was Sadoski who was the heart and soul of the play, leaving a lasting impression as he gives his job the proverbial figure and grows up as the lights fade out.
Friday, October 9, 2009
"Am I Center...?"
By the time the curtain came down on the Manhattan Theatre Club revival of The Royal Family, I just wanted to be member of the Cavendish family, or to work for them (this is one of those plays where the staff is an extension of the nuclear). No matter how egocentric or childish these actors behave, there is never a shortness of heart. Even the most exasperating family member is accepted and embraced as part of this circle that is based in love, family and of course, the traditions of the theatre.
This is most evident toward the end of the play, when the entire family is gathered around looking at plans for a brand new play. There is excitement about the idea of putting on a new show, what it will look like, what it could be. It's an excitement so rich you understand how this family functions. However, while they are busy bonding over their art, two suitors are shown as clear outsiders who stand around aimlessly and stand out like sore thumbs. They don't understand the marriage between actor and craft, and they never will. The play simultaneously lampoons and celebrates what makes theatre the unique world it is.
I was incredibly optimistic about The Royal Family, a comedy-drama about a celebrated acting family written by George S. Kaufman and Edna Ferber. Now, I had never read nor seen the play before. All I knew was its history. It premiered on Broadway in 1927, where it was a big success with audiences who would readily make the satiric connections with the Barrymore family. The Barrymores themselves had varying reactions. John went backstage to congratulate Fredric March on his performance in a Los Angeles production. Lionel declined to comment, while Ethel unsuccessfully sued. That didn't quell the popularity of the show. It premiered in London as Theatre Royal, so as not to draw parallels with the British royalty, with Laurence Olivier. It was made into the film The Royal Family of Broadway in 1930, with March recreating his stage triumph as Tony Cavendish (based on John) to the tune of an Oscar nomination. It's probably best known to today's audiences by its exceptionally well-received 1975 Broadway revival. Ellis Rabb won a Tony for his direction (and quickly assumed the role of Tony) and it starred Rosemary Harris and Eva Le Gallienne as daughter and matriarch of the eccentric stage dynasty.
Reflecting one of the play's themes, the torch has passed. Harris is again starring on Broadway in The Royal Family, except this time she is stepping into the role of Fanny Cavendish, the matriarch. Jan Maxwell, one of Broadway's greatest treasures is playing her daughter Julie. They are joined by Tony Roberts, Reg Rogers, Larry Pine, John Glover, Ana Gasteyer, Kelli Barrett in one of the loveliest revivals you're likely to see this year.
The MTC has spared no expense in making this revival a feast for the eyes and ears. When the curtain rose on John Lee Beatty's lavish unit set, a two-tier upscale Manhattan living room ripe with ornate period decor, the audience first gasped, then broke into enthusiastic applause. Complementing the scenery are the sumptuous costumes designed by multiple Tony-winner Catherine Zuber. The incidental music was supplied by Maury Yeston.
The show isn't just a display of visual wonderment. Director Doug Hughes has done incredibly well by the script, finding a way to stage an 82 year old play without making it feel dated. The play does run three acts, and gets bogged down in the first act with exposition. However, don't let that deter you - the second and third acts contain the best and most impressionable moments of the evening and are dominated by Ms. Harris and Ms. Maxwell.
I first saw Maxwell in the woefully short-lived Coram Boy (which I saw twice) and have been an ardent fan ever since. She doesn't fail here, scoring magnificently as the middle-aged stage star of the family, upon whom much of the familial responsibility rests. She has a second shot at love with a man that got away many years ago because of the emphasis on her career, and seriously considers giving it all up for him. But a star through and through, Julie knows how to make an entrance and at one point while being melodramatic interrupts herself to ask "Am I center...?" before carrying on.
A highlight of the theatre season is watching Julie become unhinged late in the second act. It is here that Maxwell delivers the most brilliantly executed comic monologue I have ever seen in my life. It's impossible for anyone to successfully describe it in print, but you will never forget the image of Maxwell face-planted against the lip of the Friedman stage. I've never seen a comic moment genuinely stop a show like it does here. All I know is that I was still awestruck when the lights came up at second intermission several minutes later.
The other indelible moment belongs to Harris, who is the matriarch who has been kept from performing due to illness. Throughout the play she patiently observes the family around her, accepts their idiosyncrasies as normal, and gets to deliver some choice Kaufman zingers. But Fanny is the heart of the play. It is her apartment in which everyone gathers and where the dramas and comedies of this family are acted out for one another. Fanny herself is something of a calming, elegant contrast to the insanity around her. Aching for the unlikely chance to return to the stage, Harris dominates the third act with an eleven o'clock moment that will haunt and move you from here to eternity. The final tableau is a most striking and affecting stage visual that will stay with you long after you've left the theatre.
While there are many other 82 year old plays that we are likely to never see again, this one works and holds up rather well, dated references considered. Most of that is due to its delicious depiction of actors and the playwrights' sly satiric portrait of how they live. The play may never again get the laughs it got in 1927 when audiences was more readily aware of the Barrymores and their status within the New York theatre community. But it comes back to Hughes who imbues the entire production with class and elegance in its staging and characterization. However, underneath the slick superficial surface of show-biz is a loving family that is drawn together by its unique association with acting. As Gwen weighs giving up acting for marriage and family, Fanny drolly proclaims, "Marriage isn't a career, it's an incident." Fanny and Julie then speak so eloquently of the privilege to do what they do that you begin to question your own career choice.
There has been a lot of press about Tony Roberts falling ill onstage during last Sunday's matinee, but he was back onstage in time for Thursday night's opening. He provides a voice of reason for the entire family as their long time manager. Reg Rogers is a favorite as the outrageous Tony, always on the run for drinking too much and womanizing. His eccentricity and larger than life personality are complemented by quieter moments where he's with his mother and you get a glimpse at the loving child underneath all the trappings. The entire ensemble works very well with one another. Gasteyer, if a bit monotone, is perfectly gauche as Kitty. Glover's character is trying to hang onto the last shreds of his dignity, while descending the show business ladder. Even the household staff have fully formed, interesting characters in spite of their brief stage time.
The production at the Friedman is such a tremendous hit that it's already extended its limited engagement, but the revival is closing on November 29. You can bet that I will be going back again.
This is most evident toward the end of the play, when the entire family is gathered around looking at plans for a brand new play. There is excitement about the idea of putting on a new show, what it will look like, what it could be. It's an excitement so rich you understand how this family functions. However, while they are busy bonding over their art, two suitors are shown as clear outsiders who stand around aimlessly and stand out like sore thumbs. They don't understand the marriage between actor and craft, and they never will. The play simultaneously lampoons and celebrates what makes theatre the unique world it is.
I was incredibly optimistic about The Royal Family, a comedy-drama about a celebrated acting family written by George S. Kaufman and Edna Ferber. Now, I had never read nor seen the play before. All I knew was its history. It premiered on Broadway in 1927, where it was a big success with audiences who would readily make the satiric connections with the Barrymore family. The Barrymores themselves had varying reactions. John went backstage to congratulate Fredric March on his performance in a Los Angeles production. Lionel declined to comment, while Ethel unsuccessfully sued. That didn't quell the popularity of the show. It premiered in London as Theatre Royal, so as not to draw parallels with the British royalty, with Laurence Olivier. It was made into the film The Royal Family of Broadway in 1930, with March recreating his stage triumph as Tony Cavendish (based on John) to the tune of an Oscar nomination. It's probably best known to today's audiences by its exceptionally well-received 1975 Broadway revival. Ellis Rabb won a Tony for his direction (and quickly assumed the role of Tony) and it starred Rosemary Harris and Eva Le Gallienne as daughter and matriarch of the eccentric stage dynasty.
Reflecting one of the play's themes, the torch has passed. Harris is again starring on Broadway in The Royal Family, except this time she is stepping into the role of Fanny Cavendish, the matriarch. Jan Maxwell, one of Broadway's greatest treasures is playing her daughter Julie. They are joined by Tony Roberts, Reg Rogers, Larry Pine, John Glover, Ana Gasteyer, Kelli Barrett in one of the loveliest revivals you're likely to see this year.
The MTC has spared no expense in making this revival a feast for the eyes and ears. When the curtain rose on John Lee Beatty's lavish unit set, a two-tier upscale Manhattan living room ripe with ornate period decor, the audience first gasped, then broke into enthusiastic applause. Complementing the scenery are the sumptuous costumes designed by multiple Tony-winner Catherine Zuber. The incidental music was supplied by Maury Yeston.
The show isn't just a display of visual wonderment. Director Doug Hughes has done incredibly well by the script, finding a way to stage an 82 year old play without making it feel dated. The play does run three acts, and gets bogged down in the first act with exposition. However, don't let that deter you - the second and third acts contain the best and most impressionable moments of the evening and are dominated by Ms. Harris and Ms. Maxwell.
I first saw Maxwell in the woefully short-lived Coram Boy (which I saw twice) and have been an ardent fan ever since. She doesn't fail here, scoring magnificently as the middle-aged stage star of the family, upon whom much of the familial responsibility rests. She has a second shot at love with a man that got away many years ago because of the emphasis on her career, and seriously considers giving it all up for him. But a star through and through, Julie knows how to make an entrance and at one point while being melodramatic interrupts herself to ask "Am I center...?" before carrying on.
A highlight of the theatre season is watching Julie become unhinged late in the second act. It is here that Maxwell delivers the most brilliantly executed comic monologue I have ever seen in my life. It's impossible for anyone to successfully describe it in print, but you will never forget the image of Maxwell face-planted against the lip of the Friedman stage. I've never seen a comic moment genuinely stop a show like it does here. All I know is that I was still awestruck when the lights came up at second intermission several minutes later.
The other indelible moment belongs to Harris, who is the matriarch who has been kept from performing due to illness. Throughout the play she patiently observes the family around her, accepts their idiosyncrasies as normal, and gets to deliver some choice Kaufman zingers. But Fanny is the heart of the play. It is her apartment in which everyone gathers and where the dramas and comedies of this family are acted out for one another. Fanny herself is something of a calming, elegant contrast to the insanity around her. Aching for the unlikely chance to return to the stage, Harris dominates the third act with an eleven o'clock moment that will haunt and move you from here to eternity. The final tableau is a most striking and affecting stage visual that will stay with you long after you've left the theatre.
While there are many other 82 year old plays that we are likely to never see again, this one works and holds up rather well, dated references considered. Most of that is due to its delicious depiction of actors and the playwrights' sly satiric portrait of how they live. The play may never again get the laughs it got in 1927 when audiences was more readily aware of the Barrymores and their status within the New York theatre community. But it comes back to Hughes who imbues the entire production with class and elegance in its staging and characterization. However, underneath the slick superficial surface of show-biz is a loving family that is drawn together by its unique association with acting. As Gwen weighs giving up acting for marriage and family, Fanny drolly proclaims, "Marriage isn't a career, it's an incident." Fanny and Julie then speak so eloquently of the privilege to do what they do that you begin to question your own career choice.
There has been a lot of press about Tony Roberts falling ill onstage during last Sunday's matinee, but he was back onstage in time for Thursday night's opening. He provides a voice of reason for the entire family as their long time manager. Reg Rogers is a favorite as the outrageous Tony, always on the run for drinking too much and womanizing. His eccentricity and larger than life personality are complemented by quieter moments where he's with his mother and you get a glimpse at the loving child underneath all the trappings. The entire ensemble works very well with one another. Gasteyer, if a bit monotone, is perfectly gauche as Kitty. Glover's character is trying to hang onto the last shreds of his dignity, while descending the show business ladder. Even the household staff have fully formed, interesting characters in spite of their brief stage time.
The production at the Friedman is such a tremendous hit that it's already extended its limited engagement, but the revival is closing on November 29. You can bet that I will be going back again.
Friday, July 4, 2008
Random Thoughts on This & That
I've had difficulty logging into my blog over the past couple of days. I'm not sure what was up, but it was mighty frustrating not to be able to update.
Wall-E is one of the most extraordinary and ambitious Pixar films ever made. The film is a sort of Chaplin meets 2001 with extraordinary results. For those who love the musicals, it's been heavily documented that the little robot's favorite movie is Hello, Dolly! and Jerry Herman's "Put on Your Sunday Clothes" and "It Only Takes a Moment" become incredibly important to the character and plot (wow, a song advancing a plot, isn't that something...). To say the romantic aspect of the film is moving is an understatement. People have been critical of the subtle or not-so-subtle (it seems to depend on your political leaning) criticism of human consumerism and waste. As I was watching, I realized that this could have functioned as a live-action science fiction film. I was in a movie theatre with absolutely no children and was a moving experience. And that little robot is so cute, I want one for a pet. One of the best films of the year so far. Oh - and having Sigourney Weaver as the voice of the ship was a very nice touch.
There was a headline the other commenting on how Katie Holmes couldn't bring about a million dollar advance sale for the impending revival of All My Sons. Truth be told, I think most people would be more excited to see the other three actors that have been cast: John Lithgow, Dianne Wiest, and Patrick Wilson. Perhaps Maggie Gyllenhaal will stand-by for her...?
Jan Maxwell is returning to Broadway as Maria Tura in the MTC production of To Be or Not to Be at the Biltmore this fall. Craig Bierko will be her costar. How exciting to have an actress as gifted and witty as Maxwell back on the boards. Her work as a self-preserving, pragmatic proto-feminist in the highly-inventive, but woefully shortlived Dickensian melodrama Coram Boy was multi-faceted and captivating. (Could I have crammed anything more into that sentence, yikes). The Walter Kerr shall not be dormant for long. Olivier-winner Kristin Scott Thomas and Peter Sarsgaard will headline the import of the London revival of The Seagull, that immortal laugh riot by Russia's great gag writer Anton Chekhov. (Name that musical!)
I renewed my subscription at Roundabout. Looking forward to Pal Joey with Stockard Channing, A Man for All Seasons with Frank Langella and the revival of Hedda Gabler. I also want to see The Marriage of Bette and Boo with that delectable Victoria Clark and company.
I will be at The Dark Knight not Mamma Mia on July 18 at 12:01AM.
Spike Lee will be turning Passing Strange into one of his joints. He'll be filming three performances of the show this month for airing on a TBD cable station.
Oscar nominee and stage vet Amy Ryan will be reprise her recurring role as Holly, the new HR representative at Scranton's Dunder-Mifflin next season on The Office. I can't wait to see where they take her character and Michael Scott, who had inexorable chemistry in this year's season finale.
I'm taking in tomorrow's matinee of A Catered Affair thanks to Chris at Everything I Know I Learned From Musicals. Look forward to reporting on Faith Prince. Not to mention a round two of "The Bloggers Who Brunch" on Sunday.
Happy Fourth of July everyone.
"Someone ought to open up a window...!" ;)
Wall-E is one of the most extraordinary and ambitious Pixar films ever made. The film is a sort of Chaplin meets 2001 with extraordinary results. For those who love the musicals, it's been heavily documented that the little robot's favorite movie is Hello, Dolly! and Jerry Herman's "Put on Your Sunday Clothes" and "It Only Takes a Moment" become incredibly important to the character and plot (wow, a song advancing a plot, isn't that something...). To say the romantic aspect of the film is moving is an understatement. People have been critical of the subtle or not-so-subtle (it seems to depend on your political leaning) criticism of human consumerism and waste. As I was watching, I realized that this could have functioned as a live-action science fiction film. I was in a movie theatre with absolutely no children and was a moving experience. And that little robot is so cute, I want one for a pet. One of the best films of the year so far. Oh - and having Sigourney Weaver as the voice of the ship was a very nice touch.
There was a headline the other commenting on how Katie Holmes couldn't bring about a million dollar advance sale for the impending revival of All My Sons. Truth be told, I think most people would be more excited to see the other three actors that have been cast: John Lithgow, Dianne Wiest, and Patrick Wilson. Perhaps Maggie Gyllenhaal will stand-by for her...?
Jan Maxwell is returning to Broadway as Maria Tura in the MTC production of To Be or Not to Be at the Biltmore this fall. Craig Bierko will be her costar. How exciting to have an actress as gifted and witty as Maxwell back on the boards. Her work as a self-preserving, pragmatic proto-feminist in the highly-inventive, but woefully shortlived Dickensian melodrama Coram Boy was multi-faceted and captivating. (Could I have crammed anything more into that sentence, yikes). The Walter Kerr shall not be dormant for long. Olivier-winner Kristin Scott Thomas and Peter Sarsgaard will headline the import of the London revival of The Seagull, that immortal laugh riot by Russia's great gag writer Anton Chekhov. (Name that musical!)
I renewed my subscription at Roundabout. Looking forward to Pal Joey with Stockard Channing, A Man for All Seasons with Frank Langella and the revival of Hedda Gabler. I also want to see The Marriage of Bette and Boo with that delectable Victoria Clark and company.
I will be at The Dark Knight not Mamma Mia on July 18 at 12:01AM.
Spike Lee will be turning Passing Strange into one of his joints. He'll be filming three performances of the show this month for airing on a TBD cable station.
Oscar nominee and stage vet Amy Ryan will be reprise her recurring role as Holly, the new HR representative at Scranton's Dunder-Mifflin next season on The Office. I can't wait to see where they take her character and Michael Scott, who had inexorable chemistry in this year's season finale.
I'm taking in tomorrow's matinee of A Catered Affair thanks to Chris at Everything I Know I Learned From Musicals. Look forward to reporting on Faith Prince. Not to mention a round two of "The Bloggers Who Brunch" on Sunday.
Happy Fourth of July everyone.
"Someone ought to open up a window...!" ;)
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