Sorry for my absence, y’all. I’ve been here:
Don’t worry; I haven’t gone far! Only about 10 blocks west of my last place, but a new apartment nonetheless. Which means for the past two weeks all I’ve been doing is packing and cleaning and tossing and taping and unpacking and IKEAing and building and burning cash, on repeat it seems. Soon, friends. Soon our home will be livable.
Anyway, because of the move delay, I didn’t get to write about Old Times before it closed last week, but here’s a quick note about the production. You may have already seen my #InstaReview on Instagram (p.s. follow me). Harold Pinter was back on the Broadway in this revival, and I was left feeling the same way I did last time at No Man’s Land: unfulfilled. And to be blunt with you: bored. The same thing happened when I saw The Birthday Party many moons ago during my semester abroad in London.
A two-sentence synopsis: Married couple Deeley and Kate are hosting Anna, an intriguing friend of Kate’s from years before. Together they reminisce and discover unexpected connections among them, all the while trying to maintain the upper hand in the conversation. I didn’t care for the characters in present day, much less their past. There was no forward momentum. Old Times is power play after power play, but I felt like we were in a stalemate the whole time. Each pause was so weighted, and every line meant so much. It’s exhausting having that much subtext, and I love subtext! It’s delicious when a character says one thing and means another; that’s real life. However, here it was tiring, despite the very talented cast. Too much subtext and not enough substance. The design was attractive, but what did it mean? It gave me the impression that we were floating in limbo. The play gave that impression, too. It’s a cat and mouse game, but I didn’t know who was chasing whom. They certainly weren’t chasing my attention.
I’ll be completely honest with you: I don’t know the ultimate reason that Old Times didn’t appeal to me. The common denominator here could be Pinter, end of story. Another part of me wonders if there is still a chance for Pinter and me; if I need exactly the right combination of director, cast, and story. Regardless, Pinter is in the canon for a reason, and I know I enjoyed reading his plays back in school. That love should be able to translate to the stage. But it seems Old Times was not the right time for me.
Written by Harold Pinter, Directed by Douglas Hodge
American Airlines Theatre, Closed November 29, 2015
Running time: 65 minutes, no intermission
Cast: Clive Owen, Kelly Reilly, and Eve Best
Credits: Set Design: Christine Jones; Costume Design: Constance Hoffman; Lighting Design: Japhy Weideman; Sound Design: Clive Goodwin; Music: Thom Yorke: Hair Design: Amanda Miller; Production Stage Manager: Nevin Hedley
I really messed up on this one, friends. That’s right, I STILL haven’t seen Hamilton. I’ve never been so behind the times.
For the people out there who, as they say, might be living under a rock (or maybe they’re just not on social media), Hamilton is the new Broadway musical that’s currently taking over the world. Lin-Manuel Miranda, a Tony winner for In the Heights in 2008, has teamed up again with Director Tommy Kail and a million other crazy talented people to tell the story of Alexander Hamilton through hip hop and rap music. Perhaps you saw the scoop on “60 Minutes.” Or Miranda freestyling on the Tonight Show two weeks ago. Or heard about the education initiative in which 20,000 high school students will get to see the show for $10 each. Or seen some of the amazing mini-performances at the #Ham4Ham lottery. Or know that POTUS and FLOTUS have both seen the show (twice).
Listen, let me explain myself. I had planned on seeing it when it was Off-Broadway at The Public earlier this year, but the prices were so steep (the irony, I know) that I decided to wait until a discount became available. Then the reviews hit, and the show blew up. I knew it was going to be big – I didn’t know it was going to be a cultural phenomenon. Anyway, I felt that a post explaining myself was necessary since anyone and everyone is talking Hamilton, and it has yet to be mentioned on this blog.
This thing has been on my radar since Miranda’s first performance of a song at the White House in 2009. I was always excited because I was a super Heights fan. Back when I worked at Marquee Merchandise, the spring of 2008, we jammed out to the cast recording every day, learning all the rhymes as we charged credit cards, packaged, labeled, and mailed stacks upon stacks of pre-ordered CDs. Ah, memories. Whenever I had a spare evening that year or found myself wandering around Times Square around 9pm, I would swing by the Richard Rodgers theatre to check on the merch sellers, but really it was so I could go stand in the back of the orchestra and watch select scenes. I loved having a Broadway show on-call like that. I could go whenever I wanted. Need a little “96,000” in my life? Or “Champagne?” Want to see how Corbin Bleu is doing? I felt like the Richard Rodgers was mine. I also was watching this video on repeat at the time.
So when Hamilton hit the scene, I was ready – just not ready enough apparently. I waited on that ticket and then missed the boat. All this to say, I dropped a chunk of change (way more than it would have been at the Public, whoops) and bought my ticket a few months ago. I probably could have gotten a seat in the back and seen it by now, but for that kind of money, I wanted a SEAT, you know? December 17th it is. I will wait impatiently until that day and continue to avoid the cast recording that I so desperately want to hear.
Thus, let the one-month countdown begin. Then we can discuss.
If You Can’t Take It With You didn’t secure Annaleigh Ashford as one of the best physical comedians out there right now, Sylvia certainly does. I might even venture to say that she’s my generation’s Carol Burnett. It could be too soon to tell, but here’s what I know: every gesture, each sound emitted, and even the slightest tilt of her head is jam packed with comedy gold.
Fresh off her Tony win, the star is back on stage with the first Broadway production of A.R. Gurney’s Sylvia, playing the title character. For those of you who are not familiar with the play, now would be the time to mention that the title character is also a dog. Sylvia is about a love triangle but not your average one. A man named Greg (Matthew Broderick) finds a stray dog in the park (Ashford) and brings her home, much to the dismay of his wife, Kate (Julie White). Robert Sella also stars, covering several roles, each one funnier than the last. The twist of Gurney’s comedy is that Sylvia can talk. Well, not in the sense of, “Oh! A talking dog!” Rather, she has conversations with people, but they’re not necessarily communicating. She is still a dog after all. When she barks, she says, “Hey.” “Hey! Hey! Hey!” The fact that this remains laugh-out-loud funny throughout the play is impressive. It’s hard to describe why it’s so amusing to see a human behaving like a dog. As Greg finds himself going through a mid-life crisis and Kate finds her marriage falling apart before her very eyes due to the furry arrival, Sylvia is hoping to find a permanent home on the couch.
Broderick is his usual self on stage. Just like in It’s Only a Play, I was quickly bored with his flat inflection. Every line sounds the same, and he looks stiff as a board up there, especially next to Ashford who’s jumping around and running and scratching and hey-ing. (Fun fact: Sarah Jessica Parker, Broderick’s wife, played Sylvia in the Off-Broadway 1995 premiere.) Julie White, in what could be a one-note role as the aggravated wife, is delicious as usual. And Sella, whose work I was unfamiliar with, was delightful to watch transform as he fills in the edges of the small ensemble.
My opinion on the play itself keeps shifting as I work on this post. Some days I think it is paper thin with the same gimmick over and over, but fortunately in this production, Annaleigh is so skillful that it doesn’t get old. On the other hand, the play is pretty darn cute, and it made me miss my old pup, Kirby (below). It may be a simple story, but it is about something real: the love between people and their dogs.
Written by A.R. Gurney, Directed by Daniel Sullivan
Cort Theatre, Closing January 24th, 2016
Photo Credit: Joan Marcus
Pictured: Annaleigh Ashford and Matthew Broderick
Do you know this play? I had never heard of The Gin Game until it was announced for this season. Written by D.L. Coburn, the two-hander (a play with only two characters) ran on Broadway in 1977, directed by Mike Nichols and starring Jessica Tandy and Hume Cronyn, and I was surprised to learn that it won the Pulitzer in 1978 for Drama. Thanks Wikipedia!
Now James Earl Jones and Cicely Tyson star in the second Broadway revival, and albeit engaging and laugh-out-loud funny at times, the piece didn’t resonate with me. Perhaps I’m not the right demographic. When you boil it down, the title hits the nail on the head – The Gin Game basically consists of two elderly people playing gin for two hours. The conversation certainly wanders to other topics like their families, struggles, and lives before coming to the same nursing home, but the play lacks an event. Tensions rise as they bicker and fight over round after round of gin, but it doesn’t build to anything.
Jenn and I couldn’t help but wonder how successful this play can be, regionally let’s say, without powerhouses like Mr. Jones and Ms. Tyson in the roles of Weller and Fonsia. These two are royalty, and at 84 and 90 years old, respectively, carrying a two-person play is crazy impressive. However, if Mr. Jones weren’t up there, for example, Weller would be way less endearing of a character since, essentially, he verbally abuses Fonsia for the duration of the play, pushing and poking at her until she finally snaps back.
Here’s what I’ll say: if you’ve never had the chance to hear that voice live or see either of them perform, then go check it out. But the ticket is for them, not the play.
The Gin Game
Written by D.L. Coburn, Directed by Leonard Foglia
Golden Theatre, Closes January 10, 2016
Photo Credit: Joan Marcus
Pictured: James Earl Jones and Cicely Tyson
Can I get an AMEN?! What a wonderful thing to celebrate the success of Fun Home last night (and all the other winners and nominees and non-nominees). It was a fun evening of surprises right and left (all four Actor/Actress in a Musical categories went the opposite way of the predictions).
Before I dive into my high/lowlights of the evening including links to all the performances, a brief word about yesterday morning. If you haven’t heard, I attended the Tony Dress Rehearsal with Miss Jenn Haltman, and it was a grand ol’ time. The best moment for me may have been stepping into Radio City and seeing the iconic Tony set on the stage. It was pretty surreal. The dress rehearsal is as you might expect – they run through the entire evening, all the performances, all the banter, presenters, even fake winners and acceptance speeches. There’s a set of ten or so actors who “play” the nominees, sit in their seats, and one goes up to deliver a thank-you speech after each award is announced. It’s actually quite entertaining. You also get to see how the sausage is made, like how the cameras work and how the crane reaches over the audience. It was a super cool morning, but now, onto the real thing.
- Let’s begin with the best of the best: Sydney. Effin. Lucas. Is there really anything else to discuss? This was the performance of the evening. The folks at Fun Home made the (very) smart decision to highlight one song and one performer (with cameos by Tony nominee Beth Malone and now two-time Tony winner Michael Cerveris) to represent their show, a decision I fully support. And to have Joel and Jennifer Grey introduce the number made it all the more apropos. This song stands for so much in the musical theatre genre, and the fact that an 11-year-old is delivering it makes it all the more impressive. I could talk about it for ages, but I’ll let the song speak for itself. Here’s Tony nominee Sydney Lucas singing “Ring of Keys” from Fun Home. Also, a mini-anecdote from director Sam Gold in the press room after winning his Tony, talking about directing Sydney in that song: “The day that I was first going to stage that song with Sydney in rehearsal, I was really nervous…What was I going to say to her? She was nine at the time. I started to ask her, ‘Do you understand what this song is about? What can we talk about?’ And she was like, ‘I got this.’ She had it already. She understood everything about it. She’s a very mature actor and didn’t need to be treated like a kid. I treated her [from] that moment forward like all of the adults.”
- Something Rotten also gave a great performance. Since there was no real opening number (missing you, NPH), Rotten ended up serving as the big opening of the night, presenting the Act One show-stopper “A Musical” featuring Tony nominees Brian D’Arcy James and Brad Oscar. It’s funny, right?
- Let’s focus now on the lady power happening last night. I did a lap around my living room every time a woman won. Firstly, yay lady director Marianne Elliott for Curious Incident. Second, representation in all the design categories: Catherine Zuber for The King and I Costume Design, Bunny Christie for Curious Scenic Design, and Natasha Katz for American Lighting Design. And then! Lisa Kron and Jeanine Tesori for Best Book and Score for Fun Home. They made history by being the first all-female writing team to win for a musical. What should be on the lowlights is the fact that these wins happened during commercials. Considered “Creative Arts Awards” – and deemed not worthy to be aired with the rest of the program – book, score, choreography, and designer awards all happen off-screen with only five-second snippets of their speeches shown later. So here I share their fantastic and important speeches: Lisa Kron for Best Book and Jeanine Tesori/Lisa Kron for Best Score.
- Let’s hear it for Ruthie Ann Miles as Lady Thiang. This category seemed like a shoe-in for one of the Fun Home ladies. I haven’t seen The King and I yet (going in July), but I’m still so excited for her and her adorable speech. And how nice to squeeze in a little bit of diversity on that stage (wow, I just looked it up: she is the second Asian actress ever to win a Tony).
- While we’re on the topic of The King and I, let us all bow down to the wonder that is Kelli O’Hara. Congrats on winning your first Tony after six nominations. Yes, standing ovation! And that speech!! And have you seen the quick change video going around right now? Amazing offstage choreography. Kelli, I hope you’re still shuffling off to Buffalo filled with joy.
- I want to do a couple of shout-outs to my other favorite actor wins. Alex Sharp is so wonderfully earnest. Annaleigh Ashford I’ve been rooting for since I first saw her in Legally Blonde in 2007. And Michael Cerveris for Fun Home! A frazzled Tony speech but a terrific performance as Bruce Bechdel.
- Best presenters of the night were Larry David and Jason Alexander. How Larry David manages to ride that line of hilarious yet offensive is quite the feat.
- Although I am not a supporter of the medley performance (more on that below), I think On the Town, An American in Paris, and The King and I were solid performances, showing off their stars and choreography.
- I said it before and I’ll say it again, It Shoulda Been You drives me nuts. From David Hyde Pierce’s intro with a fan letter to the jokes to the song itself, I can’t do it. But let’s give well-deserved credit to the talent that is Lisa Howard and the sound that she produces. I just wish I liked the song.
- I can’t really speak too much of Gigi because I have not seen it (nor do I intend to quite honestly), but it doesn’t do anything for me. Here’s Vanessa Hudgens performing “The Night They Invented Champagne.”
- As Jenn said about Finding Neverland while we watched the performance yesterday morning, “Everything is happening onstage, and nothing is happening onstage.” Yes, Matthew Morrison can still sing underneath that beard of his, but this number was literally smoke and mirrors to distract from the fact that so little is actually going on. Here’s “Stronger” featuring Morrison and Kelsey Grammer. Also? That intro.
- I would never speak badly of Chita Rivera; she’s Broadway royalty. But The Visit, or as I’m now calling it, “The Visit – What Is It?”…I just had no idea what to make of that performance. And sadly I’m not the only one – they just posted the closing notice this afternoon.
- Although the memoriam was touching and featured a record amount of performers in a Tony number (not to mention actually being aired on the live show as opposed to last year), the speed of that slideshow left something to be desired. It didn’t need to be rushed! Why not start it at the top of the song (with the right notes ideally) instead of featuring Josh Groban for one minute and twenty seconds?
- Let’s talk about the E.T. bit. While funny and unexpected, let’s read the room, shall we? Wait to send Kristin out in that ridiculous costume until the audience has stopped reeling from Sydney’s performance. The music had barely faded out when she wobbled out, unfortunately reducing the moment that had just occurred.
- The Jersey Boys finale was a little bit of a letdown after some of the great closing bits we’ve had over the last couple years.
- As I mentioned above, any award happening during the commercials is a lowlight.
- And now, a mini-rant on medleys. Have you heard this before from me? Medleys are so rarely a good idea in my book. I totally understand that you want to show as much of your production’s range and stars as possible. I get that one number doesn’t fully represent what your musical is, but what a medley tends to do instead is get all…jumbly. It gets messy because too much is being squeezed into a few minutes. So for example, On the Twentieth Century, which I very much enjoyed the other week (review to come), comes off looking all over the place. There were technically FOUR songs covered in those few minutes. People don’t know what to come away with after seeing that. Why not just do the last song in the medley? I know we don’t get to see Peter Gallagher or the adorable tapping porters, but we’ll get to see Kristin sing her heart out and we’ll enjoy one full song. It’s a bummer Tony winner Christian Borle didn’t get to perform in the Something Rotten number, but guess what? It was still great, and now people get a sense of what that show will be. Why not just do “Shall We Dance?” from The King and I or one dance with the two leads in American in Paris? Haven’t we learned yet that medleys don’t do a show justice?
Alright, let’s not dwell too much on the negative (like no love for Hand to God). Things like this exist now! Not all of the shows can be recognized, and there will always be a lot of BS that gets in the way of celebrating the arts, but Fun Home taking home the big wins last night is a huge accomplishment. So let’s bask in that while we can. One more time, here’s a link to all of the performances. Go see a Broadway show!
Oh yeah, one more thing. Bring back Sound Design.