I think we all have some playwright that, despite the constant productions of his or her work, we just don't get. For me, that playwright is Neil LaBute. MCC produced a new play of his every season for the past five seasons and the Public had him on their roster for the past two seasons. And not only do all of his plays get produced, but for some reason his plays attract stars like flies caught on a strip of sticky paper. So someone tell me what I am missing? Each of his plays that I've seen is basically the same - we get a picture of a man doing some loathsome act (in "Mercy Seat" it was a man trying to decided whether he survived on 9-11 or whether to stay with his mistress; in "Fat Pig," it's a man trying to deal with the fact that he's dating a fat woman), and then we get some random tacked on twist ending, stuck on there just for the sake of having a twist ending. His plays just seem designed to offend his audience as much as possible - these characters rarely have any redeeming values - and really, if the plays ever really have a point (other than "Men suck"), well, they're lost on me.
Anyway, the LaBute play I saw this evening was his pedophile play: "In a Dark Dark House." I probably would have liked the play a little less if I hadn't already seen David Harrower's "Blackbird," a far better and far more chilling play on a similar subject matter - they're both about pedophiles, but LaBute's pedophile play has the obligatory ludicrous series of plot twists in the third scene. The first two scenes were fine - not particularly interesting, but not terrible - that was basically the "Blackbird"-lite part of the play. Then we get the third and final scene, and it's basically a 'and then I did this, and if you think that's shocking, well I also did this, and if you think that's shocking, well I also did this' (and so on and so on) - it's just one pointless added layer after the other. And then, so the audience doesn't leave flush the play from their memories as soon as they leave the theatre, he gives us a final encounter that's just ambiguous enough to have the audience scratching their heads and wondering what we just missed and why there is this hugging and crying going on. And so the play ends and everyone turns to the person next to them and they say "Did you understand the ending," and they bandy about theories about what happened, and so the play lives on in the memories of the audience. (For my part, based on eavesdropping on people around me and then pondering to myself on my way home I think I figured out what happened at the end - but I can't really say I understand why what happened happened).
So... while "In a Dark Dark House" is the first play in a while that had me leave the theatre actually thinking about the play and what happened in it, and I can't say I necessarily disliked the play, because it did hold my interest - in the end it was just typical LaBute with everything I've come to expect from one of his plays. I notice, shockingly enough that MCC is not producing one of his plays next season. Not that I really ever like MCC's non-LaBute offerings, but I can't help but breathe a sigh of relief.
As for other theatre...
I went to see "110 in the Shade" again. I have to say I enjoyed it even more the second time. I recall merely liking it the first time, but I really loved it this second time. If you haven't seen it yet, go. And if you have, why not see it again?
The sole reason I went to see "The Fabulous Life of a Size Zero" was because it's playing at the DR2 which is close to my apartment. That probably wasn't a very good reason to see a show, but I was feeling lazy that day. "The Fabulous Life of a Size Zero" was a fitting punishment for my laziness. It was truly dreadful. The first half was passable fluff entertainment, but it's charm soon wore off, especially when it started to get serious and it just became a bore and a chore to sit through - all the way to its jaw-droppingly bizarre and awful ending.
I have to say that I was really moved by Sarah Ruhl's "eurydice." I can imagine people finding it dense or pretentious - it's definitely not an easy listening-type drama, with much of the dialogue verging on a sort of poetry, but I found it really fascinating and will admit to being surprisingly teary-eyed at the end. It's one of those really avant-garde productions: there is a Greek chorus of stones (yes, stones) and the lord of the Underworld is a child riding around on a bicycle. Oh, and the set is really beautiful. Anyway, I recommend seeing it, though I admit it's not for everyone (the always amusing John Simon said "I have never had a worse time than during these 90 interminable, intermissionless minutes of a play that, were it a lamp post, dogs would shun.").
Sunday, June 24, 2007
Monday, June 11, 2007
Tony Gossip and (Finally) a Catch-Up
I think it's been a long time since my last update. Despite the fact that I'm exhausted from yesterday's Tony Day (and by Tony day, I am of course referring to the Antoinette Perry Awards that were held yesterday. The only Soprano I saw on television was Audra McDonald...), I just put some chocolate chip cookie dough in the fridge to chill for an hour, and I'm feeling a certain burst of inspiration.
So, yesterday I sat through the Tony's twice... and neither time was in my living room. In the morning, thanks to some friendly co-workers, I was able to get a ticket to the Tony dress rehearsal. Basically, the run through the entire show (musical numbers, awards, presenters, "winners," and all) to hopefully work out the kinks. The front section of the orchestra has photos of all of the nominees taped to their assigned seats, and when a "for this rehearsal only" winner is called by the presenter, a goofy production assistant runs up on stage all excited and gives a fake speech. I have to say, some of those fake speeches were more entertaining than some of the real ones last night.
Among the interesting tidbits:
-Donny Osmond said he couldn't read the teleprompter, so he'd just memorize his lines
-Audra McDonald stopped the rehearsal in the middle of "Raunchy" because she couldn't hear the orchestra through her earpiece
-That opening number from "A Chorus Line" outside Radio City with Marvin Hamlisch on the roof? All pre-taped (did you have any doubt?)
And then that evening, I went up to the Rainbow Room to watch the winners talk to the press.
-Bill T. Jones was asked about what was up with the strange arm movements in "Spring Awakening." His explanation was that it all starts with Wendla exploring her sexuality in the opening number, and that sexual awakening is "a virus," that spreads to the Melchior and the other boys. So when the boys are exploring themselves, they're supposed to be recreating what she did, doing it very delicately, in a very feminine manner. (Sort of makes sense now that he said it. I'm going to have to see it again now, to see how it works in that light).
-A very teary-eyed emotional David Hyde Pierce said he never knew how much the Tony meant to him until he won it. He also said he was very upset that he forgot to thank Rob Ashford for his brilliant choreography, and that that was the key to his performance.
-Tom Stoppard said that the next production of his snooze fest (my term, not his) "The Coast of Utopia" will be in Russia, in Russian. The problem is that they've been rehearsing it for a year and a half, and now two of the women are pregnant so the production is on hold for the moment. As he said, that's what happens when you rehearse for a year and a half....
-John Gallagher, Jr. said he's only 22. A Tony at 22? I guess I've got some catching up to do....
And that's the end of my Tony gossip. Though did you see Raul Esparza's expression when they announced David Hyde Pierce's name? All of the other losers had happy shocked looks on their faces, while he looked perfectly livid.
----------------
As for real theatre, I've seen three of Alan Ayckbourn's "Intimate Exchanges" and each one has been great so far. In case you're out of the loop, "Intimate Exchanges" is a series of sixteen plays, all starting with a decision of a woman whether to smoke or not smoke. And basically from the one decision, the play continues to split until it has sixteen possible conclusions. There are eight different titles to choose from - the title scenes being the first scene of the second acts. So if you were to see all eight plays (the conclusions are all five to ten minute scenes, so they're not really considered major determining factors), you would see each first act twice, but totally different second acts. As I said, I've seen three so far - and two had the same first act (though there is a bit of a change at the end of the act to set up the different act two). All of the roles (there are maybe 8 - 10) are played by two extremely talented actors - Bill Champion and Claudia Elmhirst. What I've found from the three I've seen so far, is that the first acts are all mildly amusing setups, the first scene of the second act (which makes up the bulk of the act) is hysterically funny, and the final short scene, which takes place five years after the preceding scene, is really sad - basically, we watch these people go through their goofy lives, but in the end at least one of them ends up with a sad and pathetic life thanks to the decisions made earlier in the plays. Of the three I've seen so far: "Affairs in a Tent," "Events on a Garden Terrace," and "A One Man Protest," my favorite has been "Affairs in a Tent," in which a tea party goes very very wrong thanks to not so great skills of the "master baker" (the what? oh, master BAKER...). I'm still giggling about the jokes in that one. It's absolutely roll in the aisles, laugh till it hurts funny. The others didn't quite live up to that level, but they were still enjoyable.
I have tickets to see four more, and I have to say I am definitely looking forward to them, and definitely suggest checking these out if you have the time/inclination. They run through July 1.
I also went to see the Roundabout's production of "Old Aquaintance." It's not bad as far as light, painless summer entertainment goes, but I think they were hoping for another "The Constant Wife," but this script just isn't as good. The performances are all pretty bland, with the notable exception of Harriet Harris, who leaves big gashes in the sets with all of the scenery chewing she does - she is an absolute hoot, however, and any scene she is in is instantly a joy to watch. Unfortunately, the very bland her co-star Margaret Colin gets far more stage time - I'm not sure if it's her performance or the role, but she really just did nothing for me.
All in all, it's not painful to sit through - thanks totally to Harriet Harris, but I have to think there were better scripts out there than this one for a light summer comedy.
Oh, I also went to see "Rabbit" - part of the Brits Off Broadway festival that "Intimate Exchanges" is part of. The dialogue is really well well written, but the plot and the structure of the play were rather poor. Most of the play is just a bunch of witty, acid tongued friends talking and drinking at a party. For some reason though, the playwright decided to also randomly throw in flashback scenes between the party's host and her dying father. Those scenes were really clunky, and didn't really seem to flow very well - it was like the playwright thought we needed a break from the party, so she would just throw in some random other scenes whenever she felt like it. Still, it was apparently the playwright (Nina Raine)'s first play, so I think I'll look forward to her next one, should it also cross the pond.
If I've seen anything else, it didn't register, so there's your update. And I think it's almost been an hour so I should probably go now and preheat the oven for my cookies.
So, yesterday I sat through the Tony's twice... and neither time was in my living room. In the morning, thanks to some friendly co-workers, I was able to get a ticket to the Tony dress rehearsal. Basically, the run through the entire show (musical numbers, awards, presenters, "winners," and all) to hopefully work out the kinks. The front section of the orchestra has photos of all of the nominees taped to their assigned seats, and when a "for this rehearsal only" winner is called by the presenter, a goofy production assistant runs up on stage all excited and gives a fake speech. I have to say, some of those fake speeches were more entertaining than some of the real ones last night.
Among the interesting tidbits:
-Donny Osmond said he couldn't read the teleprompter, so he'd just memorize his lines
-Audra McDonald stopped the rehearsal in the middle of "Raunchy" because she couldn't hear the orchestra through her earpiece
-That opening number from "A Chorus Line" outside Radio City with Marvin Hamlisch on the roof? All pre-taped (did you have any doubt?)
And then that evening, I went up to the Rainbow Room to watch the winners talk to the press.
-Bill T. Jones was asked about what was up with the strange arm movements in "Spring Awakening." His explanation was that it all starts with Wendla exploring her sexuality in the opening number, and that sexual awakening is "a virus," that spreads to the Melchior and the other boys. So when the boys are exploring themselves, they're supposed to be recreating what she did, doing it very delicately, in a very feminine manner. (Sort of makes sense now that he said it. I'm going to have to see it again now, to see how it works in that light).
-A very teary-eyed emotional David Hyde Pierce said he never knew how much the Tony meant to him until he won it. He also said he was very upset that he forgot to thank Rob Ashford for his brilliant choreography, and that that was the key to his performance.
-Tom Stoppard said that the next production of his snooze fest (my term, not his) "The Coast of Utopia" will be in Russia, in Russian. The problem is that they've been rehearsing it for a year and a half, and now two of the women are pregnant so the production is on hold for the moment. As he said, that's what happens when you rehearse for a year and a half....
-John Gallagher, Jr. said he's only 22. A Tony at 22? I guess I've got some catching up to do....
And that's the end of my Tony gossip. Though did you see Raul Esparza's expression when they announced David Hyde Pierce's name? All of the other losers had happy shocked looks on their faces, while he looked perfectly livid.
----------------
As for real theatre, I've seen three of Alan Ayckbourn's "Intimate Exchanges" and each one has been great so far. In case you're out of the loop, "Intimate Exchanges" is a series of sixteen plays, all starting with a decision of a woman whether to smoke or not smoke. And basically from the one decision, the play continues to split until it has sixteen possible conclusions. There are eight different titles to choose from - the title scenes being the first scene of the second acts. So if you were to see all eight plays (the conclusions are all five to ten minute scenes, so they're not really considered major determining factors), you would see each first act twice, but totally different second acts. As I said, I've seen three so far - and two had the same first act (though there is a bit of a change at the end of the act to set up the different act two). All of the roles (there are maybe 8 - 10) are played by two extremely talented actors - Bill Champion and Claudia Elmhirst. What I've found from the three I've seen so far, is that the first acts are all mildly amusing setups, the first scene of the second act (which makes up the bulk of the act) is hysterically funny, and the final short scene, which takes place five years after the preceding scene, is really sad - basically, we watch these people go through their goofy lives, but in the end at least one of them ends up with a sad and pathetic life thanks to the decisions made earlier in the plays. Of the three I've seen so far: "Affairs in a Tent," "Events on a Garden Terrace," and "A One Man Protest," my favorite has been "Affairs in a Tent," in which a tea party goes very very wrong thanks to not so great skills of the "master baker" (the what? oh, master BAKER...). I'm still giggling about the jokes in that one. It's absolutely roll in the aisles, laugh till it hurts funny. The others didn't quite live up to that level, but they were still enjoyable.
I have tickets to see four more, and I have to say I am definitely looking forward to them, and definitely suggest checking these out if you have the time/inclination. They run through July 1.
I also went to see the Roundabout's production of "Old Aquaintance." It's not bad as far as light, painless summer entertainment goes, but I think they were hoping for another "The Constant Wife," but this script just isn't as good. The performances are all pretty bland, with the notable exception of Harriet Harris, who leaves big gashes in the sets with all of the scenery chewing she does - she is an absolute hoot, however, and any scene she is in is instantly a joy to watch. Unfortunately, the very bland her co-star Margaret Colin gets far more stage time - I'm not sure if it's her performance or the role, but she really just did nothing for me.
All in all, it's not painful to sit through - thanks totally to Harriet Harris, but I have to think there were better scripts out there than this one for a light summer comedy.
Oh, I also went to see "Rabbit" - part of the Brits Off Broadway festival that "Intimate Exchanges" is part of. The dialogue is really well well written, but the plot and the structure of the play were rather poor. Most of the play is just a bunch of witty, acid tongued friends talking and drinking at a party. For some reason though, the playwright decided to also randomly throw in flashback scenes between the party's host and her dying father. Those scenes were really clunky, and didn't really seem to flow very well - it was like the playwright thought we needed a break from the party, so she would just throw in some random other scenes whenever she felt like it. Still, it was apparently the playwright (Nina Raine)'s first play, so I think I'll look forward to her next one, should it also cross the pond.
If I've seen anything else, it didn't register, so there's your update. And I think it's almost been an hour so I should probably go now and preheat the oven for my cookies.
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