Two Wonderful Broadway Productions

Posted by Bruce Miller
I thought I'd write two last blog posts about Hannah's and my recent trip to NYC--this one covering the first two of the five shows we saw.

I know many of you may think we're insane to tackle five productions in three days. Of course, you're right. If we were in the city longer, or more frequently, we'd be happy to spread out the good times so that each show could steep a bit before it was time for us to gulp down the next.

Unfortunately we don't have that luxury. As it is, not only do we crowd five shows into too short a stay, we also leave town with five or ten shows we're eager, but unable, to fit in.

This trip, we flew into JFK on Friday morning, took the E train into Manhattan, shouted "Martha Newell" as our feet hit Broadway, and had lunch at Europa Cafe, a nice, simple and moderately-priced chain restaurant at the corner of Broadway and 53rd. We had an early check-in at the Edison, then made it to the ticket line by 3.

On most days, the TKTS booth in Times Square has one loooong line for musicals, and a very short line for plays. We wanted to see the revival of Arthur Miller's A View from the Bridge, so we stood in the "Play Only" line for about 3 minutes before making to the window and buying our tickets for that evening's 8 pm performance--50% off.

A View from the Bridge is considered by many to be the last (and perhaps the least) of Miller's masterworks: All My Sons (1946), Death of a Salesman (1949), The Crucible (1953), A View from the Bridge (1956). But I'll go see a lesser Miller masterwork any day of the week.

This production starred Liev Schreiber and Scarlett Johansson. under Gregory Mosher's direction. Hannah and I both enjoyed the production a lot. Being a presumptuous nitpicker, I'd have to say that Liev Schreiber never quite let loose enough as Eddie Carbone, at least for my taste. The narrator, wonderfully played by Michael Christopher (playwright of The Shadow Box) says that he admired Eddie because he "let himself be completely known" (or some phrase very close to that). Eddie is a character of great Italian passion. To be honest, I thought Liev Schreiber always maintained a little bit of masculine reserve, never truly revealing that passion. But maybe that's just me.

Scarlett Johansson was understated and actually very good--not at all the starlet one might expect. In fact, the entire cast was terrific and both Hannah and I recommend the show without reservation.
On Saturday, we saw the matinee of A Little Night Music, for which we had purchased tickets in advance. Night Music is a sold out hit, and there's no chance it will be on the TKTS line anytime soon.

As I mentioned before, we both loved the production. If you want a broader take on Night Music, watch the "Word of Mouth" reviews on Broadway.com. Two of the three intelligent theatregoers loved the show as we did. The script, score and production left the third theatregoer cold.

Truth be told, the script and score are somewhat esoteric, and will not be to everyone's liking. I'm not trying to be pompous, but I'll go out on a limb and say that Night Music is a "thinking man's" musical.

If you are a reader, if you enjoy Masterpiece Theatre, if you look forward to seeing plays as well as musicals, if you enjoy language, then I think it likely that you'll love A Little Night Music.

If you would choose to see Hairspray, Nunsense, or Joseph...Dreamcoat for the third time rather than venture out to the revival of Arthur Miller's A View from the Bridge, then Night Music may not be your cup of tea.

Regarding this production, anyone and everyone should go if for no other reason than to see Angela Lansbury in a career-defining performance. Granted, I saw and loved Lansbury as Mame, as Mrs. Lovett in Sweeney Todd, and as Mama Rose in her revival of Gypsy (my favorite Gypsy, by the way). Her Night Music character, Madame Armfeldt, is a former courtesan approaching the end of her days. She observes the wild romantic antics of the other characters from a distance, recalling the artfulness of past romances, regretting the wantonness of "modern" society.

"Where is style, where is skill, where is forethought," she sings. This from an extraordinary actress who has personified style, skill and forethought throughout a nearly 60 year career. Not only is her current performance close to perfection, the resonance that her mere presence on stage adds to the proceedings turns this into a history-making moment that no theatre lover should miss.

Catherine Zeta-Jones, as Desiree, actually holds her own among exalted company. Now I'm sounding pompous again. Who the heck am I to even comment on great stars like Liev Schreiber and Catherine Zeta-Jones? I'll just say this. Her star power is undeniable. Her acting, singing and movement impress. Her's is a Desiree with whom it is easy to fall in love.

Personally, I think she's a little too young and gorgeous for a character whom I believe should be a bit closer to a turning point in life when she feels that her most attractive days will soon be behind her. Personally, she'll never erase my memory of the luminous Glynis Johns. Having said that, I enjoyed and respected her performance, and felt she contributed to the overall wonder of the show.

Trevor Nunn, who I think is a brilliant director, urges at least two of the supporting characters to be a little too broad, again, in my humble opinion. To me the characters are simple, but they are directed in this production also to be a bit buffoonish. Again, that is nitpicking.

I missed the eloquence and heightened formality of the grand dinner in Act II of the original production. When Henrik purposefully shatters his glass, it has less of an impact when it happens at a picnic on the lawn.

Also I missed the full orchestra of the original, but only to any measurable extent on A Weekend in the Country, the rousing finale to Act I.

What I LOVED was the spirit of the piece, and the production's commitment to the depth of a story which can easily be treated as frivolous fluff. I found it moving, thoughtful, and filled with romance and delight. Again, Hannah and I recommend it without reservation.

Soon I'll be back to talk about Ragtime, God of Carnage and Time Stands Still.

--Bruce Miller

Plays Rule on B'way - the Second Seven

Posted by Bruce Miller
It’s been more than 48 hours since I discovered that Broadway is enjoying an historic fall, having mounted more straight plays (The Ritz notwithstanding) in 2007 than during any other Fall Season in the last 27 years. And, yes, I know that everyone else probably noticed this months ago, but I didn’t notice it until now, and I’m excited.

It’s not that I don’t love musicals—I do. It’s just that I love plays even more. I’m so used to Broadway trending away from plays that this reversal gives me cause for rejoicing.

One of the questions I receive most often—it comes with the job title—is, “I’m going to New York next Tuesday and can go to only one show. What should I see?” Hopefully these last three posts will help to give at least a little guidance in that department.

Rock ’n’ Roll by Sir Tom Stoppard began previews on Oct 19 and opened on Nov 4 to nearly unanimous, heart-stopping raves. It’s a transfer of the London production that won just about every major award that London has on offer, and it jumped across the pond complete with its three amazing stars: Rufus Sewell, Sinead Cusack and Brian Cox. It’s directed by the deservedly acclaimed Trevor Nunn. It uses rock ’n’ roll as a roadmap to chart its way through the political and personal turmoil of the last several decades, finding connections between love, revolution and music that illuminate our current century. I’m passionate about seeing it and seeing it soon.

August: Osage County by Tracy Letts began previews on Oct 30 and opened on Dec 4, and it also received nearly unanimous, heart-stopping raves. As American as Rock ’n’ Roll is British, August is a transfer of the award-winning premiere at Steppenwolf Theatre, based in Chicago. In the NY Times, Christopher Isherwood says, “Tracy Lett’s fiercely funny, turbo-charged tragicomedy is, flat-out, no asterisks and without qualifications, the most exciting new American play Broadway has seen in years.” When Tracy Letts wrote Killer Joe, Gary Hopper started talking to me about him. When he wrote Bug, Irene Ziegler started singing his praises. Now all of the American theatre community is paying attention. This is another play I’m desperate to see.

The Seafarer, written and directed by Irish playwright Conor McPherson, began previews on Oct 30 and opened on Dec 6, and again received great reviews—although not quite as great as its two predecessors. The Seafarer is a supernatural tale set on Christmas Eve in an Irish bar, where five Irishmen, one of whom may not be who or what he appears, descend into drunkenness and share spine-tingling yarns. I know I’m sounding like a broken record, but this play is surely as Irish as August is American and Rock is British. At the end, it’s also, from most accounts, unexpectedly uplifting.

Shakespeare’s Cymbeline is being revived on Broadway for the first time since 1923 in an all-star production that is lighting up the Vivian Beaumont at Lincoln Center. The play began previews on Nov 1 and opened on Dec 2, starring Michael Cerveris, John Cullum, Phylicia Rashad, John Pankow and Martha Plimpton, under the direction of Mark Lamos. Again, the critics have been mostly enthusiastic, especially toward Michael Cerveris’s performance and Mark Lamos’s direction. Cymbeline was the first show to open after the strike, and it appears that it will have the successful limited engagement that had been planned.

Is He Dead? is that rarest of rarities—a new, previously unproduced farce by Mark Twain. Not known as a dramatist, old Sam Clemens nonetheless penned a couple of hoary chestnuts, and after this one was discovered in the University of California, Berkeley archives, it was “polished”—there’s that running theme again—by David Ives, and from all accounts turned into an effective comic vehicle for the Scott Wichmann of Broadway known as Norbert Leo Butts. The play’s a hit! A HUGE hit!! And, again, that rarest of rarities on 21st Century Broadway—a laugh-a-minute comedy hit!!! Exactly what Broadway used to have in abundance, seldom has anymore, and desperately needs. Our friend Lizzy Holland saw it a few days ago, and claims to have laughed herself silly.

The Homecoming by Nobel laureate Harold Pinter began previews on Dec 4 and opened on Dec 16 to, again, some truly amazing reviews. The NY Times starts out with, “First of all, it really is that good!” And Linda Winer of Newsday named it her Best Production of 2007. The Homecoming is, of course, a masterwork of 20th Century English language theatre, and apparently, after 40 years, it still sizzles with the right cast and director, both of which this current revival appears to have.

November, the new David Mamet play starring Nathan Lane, began previews on Dec 20 with a planned opening on Jan 17. There’s lots of promise. I’ll let you know more after the play opens.

Until then, have a Happy New Year. I hope to see you at the theatre!

--Bruce Miller