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
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
The last time a major production of Caryl Chuchill’s Cloud Nine was seen in New York was in 1981 so I was very pleased to catch the revival at Atlantic Theater Company. This lovely, touching performance is running through November 1st, and I do think it’s worth your time.
Cloud Nine was a popular play to study back in college, especially in my Contemporary British Feminist Playwrights class when I studied abroad in England. How does one sum up this play? It’s about family, love, and sex. Even more so, it’s about oppression and putting people in boxes, forcing them to meet certain expectations, particularly gay people and women.
The first act is set in colonial Africa during the Victorian era, and then the second act jumps forward to 1979 in London. However, the characters have only aged 25 years, something my older seatmates across the way had a little trouble grasping, but don’t worry, we talked it out during intermission. This storytelling twist provides a unique opportunity to view this set of characters in two contradicting worlds, yet ironically, the standards and expectations of society seem not to change much between the two time periods. And as we watch this in the year 2015, we find that the topics of LBGT rights and feminism are just as ripe.
Cloud Nine is point blank and subtle all at once. It’s controversial and ordinary. It’s goofy and serious. Done in the round, this production, directed by James MacDonald and featuring a smart, excellent ensemble, accomplishes just what I think the play intends. I would love for you to go and tell me what you see. Do you think it makes a point? Do you think the point has been made before and it’s becoming trite? Or is this old play still bringing something new to the table?
The older folks sitting by me asked, “Is Caryl Churchill a feminist?” “Yes,” I replied. “Ohh, did she hate men?” I hope they are able to come away from this piece recognizing that those are two different things.
Note: the seating is not very comfortable. The bleachers that were constructed to allow for a more intimate, in-the-round performance are not ideal. The Atlantic is encouraging audience members to bring a pillow or small cushion to make their seat more comfortable. Usually I’m the first to complain about bad seating (my back issues makes me an easy target), but I did okay! It’s not a reason to skip the show.
Written by Caryl Churchill, Directed by James MacDonald
Atlantic Theater Company, Closes November 1st
Photo Credit: Doug Hamilton
Pictured: Lucy Owen and Chris Perfetti
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
Talk about the opposite end of the spectrum from this year’s blockbuster movie “Into the Woods.” The film, with its starry cast, lush sets, and special effects, may leave you thinking that this is the production value required of such an epic piece. But what you can witness at the Roundabout Theatre Company right now makes a strong argument for simplicity. By returning to its core – cutting the expensive costumes and even a full orchestra – we see these characters, raw and available, for all their faults, dreams, and wishes.
This is Into the Woods stripped bare. Fiasco Theater has gone back to basics with a much beloved show, throwing away the many interpretations we’ve seen over the years and starting from scratch. What do these characters want? What are they really saying/singing? The company takes the book scene by scene, lyric by lyric, and re-approaches them as if it were new material. And the hard work shows (highlights here). As someone who knows ITW very well, I heard lines in new ways, saw things I’d never noticed before, and to top it off, didn’t find myself missing the old ways. With a minimal set and only a few instruments, this small ensemble creates an entire world for us to behold, and like a fairy tale, many things are left up to the imagination. Take all the prop stand-ins: the hen is a feather duster, the cow a man (an absolute stroke of genius), the horses toy sticks, Rapunzel’s hair a yellow yarn hat, and so forth. Most of the accompaniment relies on Musical Director Matt Castle on piano, but the cast also doubles as the pit, stepping in to play cello, xylophone, bassoon. A few also play multiple roles: Rapunzel is Little Red, Jack’s Mother is Cinderella’s Stepmother, etc.
The orchestrations are unique and beautiful. In an odd way, losing the full orchestra highlighted the music even more. Who knew I’d been craving Sondheim music played only on guitar? The staging is also full of surprises. You never know what’s going to be transformed next. The set is stunning, the stage basically the inside of a piano. Up the proscenium sides are keys, along the wings are the insides of actual pianos, and the back wall is filled with strings that turn into the woods (no pun intended) themselves.
The cast is not that strong vocally (except for a few stand-outs), but it’s actually a testament to the innovation behind the production itself that this doesn’t take away from the show. Of course I missed having a certain power behind a few voices, but they make up for it. There is heart behind each and every performance. Nothing feels glib or mocked; it’s genuine and full of love for the story.
[SPOILER ALERT in this paragraph] This production also serves as a defense of what I wrote about in my movie review. Rapunzel’s death is so, so, so key to the plot, not just for the Witch’s arc, but the arc of the show in general. When that scene is done correctly, it changes the air in the room. Her death, and Jack’s Mother’s, sit in the space, the weight heavy on us, as the two actresses leave those costume pieces behind and move back into roles that live on. These deaths drive the characters, they drive the remainder of the second act, and they drive the message of the show.
It’s likely you’re not interested in seeing a show you’ve already seen or one that you can go see for $15 at a movie theatre (or on DVD soon enough), but I assure you, despite being an old favorite, this Into the Woods is brand new.
Fiasco Theater’s Into the Woods
Music and Lyrics by Stephen Sondheim, Book by James Lapine, Co-Directed by Noah Brody and Ben Steinfeld
Laura Pels Theatre, Closing April 12th
Photo Credit: Joan Marcus
Pictured: The cast of Into the Woods