Gypsy (Saturday, 7.14.07)
New York City Center, New York, NY
By: Jule Styne (music), Stephen Sondheim (lyrics), Arthur Laurents (book), Jerome Robbins (original direction and choreography), Arthur Laurents (direction)
Starring: Patti LuPone (Rose), Boyd Gaines (Herbie), Laura Benanti (Louise), Leigh Ann Larkin (June), Tony Yazbeck (Tulsa), Marilyn Caskey (Electra), Alison Fraser (Tessie Tura), Nancy Opel (Mazeppa)
The premise of the new musical series at City Center is to give actors a chance to play the roles they were “born to play.” If ever there seemed to be an actor born to play a role, it is Patti LuPone in the role of Mama Rose in Gypsy. If this is the kind of result that we can expect from the City Center's new series, then we are in for a real treat. Because LuPone is here, boys, and boy does she tackle Mama Rose with gusto. We always knew that LuPone had the pipes to sing the signature songs, but performance is more than just belting a few tunes – she wraps herself around each lyric, note and line. It almost doesn’t matter who is on stage with her – if this Mama wants something, she gets it.
And yet, what is remarkable about her performance is that LuPone shows remarkable emotional nuance. In fact, this Mama Rose is Rose on the edge – her pathology is just a symptom of her emotional fragility, her regret at having been unable to do something she wanted to do, and her desperation to make her daughters in her own image. If Merman brought gusto and Peters brought sexiness, then this Mama Rose brings it all. Her breakdown in Rose’s Turn is not only powerful, it is emotionally raw. And remarkable to listen to and watch.
Given LuPone's powerhouse performance, it almost doesn't matter what else is going on around her. But in this case, it doesn’t hurt that there are also some other terrific performers to help her tell the story. Boyd Gaines, the multi-Tony Award-winning actor who has demonstrated tremendous range in both dramas and musicals, manages to match LuPone note for note. Gaines sings well, but mostly it is his acting presence as the doormat that is Herbie that is of note. When Gaines lashes out and leaves, it is a truly powerful moment, and I have never seen another actor bring quite such focused emotional power to the role of Herbie.
As Louise, Laura Benanti gives a mixed performance that shows the difficulty of having play a character over years during a formative period. Benanti is clearly too old to play the young tomboy that is Louise – she looks ridiculous in her pigtails, and sitting through “Little Lamb” – always a weak number anyway – is dreadful and painful. So it comes as great relief when Benanti is finally able to shed her pants, put on a dress, and strip. As a stripper and an adult woman, she is completely believable -- stunning in fact -- and her “transformation” such as it were is thus absolutely lovely. But it just takes her a long time to get there, and I wished to be a little less enthusiastic about when she "arrives" as a burlesque queen.
The other standouts are the stripping trio, Marilyn Caskey, Alison Fraser and Nancy Opel as Electra, Tessie Tura and Mazeppa. The three are hilarious, and what I especially appreciated was that their performances were not typical. The three are absolutely sensational, employing subtlety as much as relying on the witty lyrics and outrageous costumes. They are terrific.
The point of the City Center’s series is to give actors a chance to play roles, both because it pairs the actors with the show, and also because it involves relatively limited runs that permit the actors to commit for the entire run of a show – something that is not always possible with a full-scale Broadway production. The downside to this, of course, is that the production values of the "full-scale" productions are greatly diminished. Here, Arthur Laurents' direction of the production is, commensurate with the series' purposes, quite thin. He clearly relies on prior gimmicks from previous productions, and otherwise simply lets the actors do what they will. He hasn’t so much directed the production as presented it, and as a result it comes across as rather stilted. Similarly, the other production values are passable, but unmemorable, from the spare and rickety sets to the unflattering costumes. Thought it seems unlikely, I have to admit it would be interesting to see LuPone and company tackle a real, full scale production. LuPone's performance here certainly has -- and should -- spark the interest for it.
Monday, July 16, 2007
Review-Old Acquaintance (7.12.07)
Old Acquaintance (Thursday, 7.12.07)
American Airlines Theatre, New York, NY
By: John van Druten (playwright), Michael Wilson (direction), Alexander Dodge (set design), David C. Woolard (costume design), Rui Rita (lighting design)
Starring: Margaret Colin (Katherine Markham), Corey Stoll (Rudd Kendall), Diane Davis (Deirdre Drake), Gordana Rashovich (Karina), Harriet Harris (Mildred Watson Drake), Cynthia Darlow (Susan), Stephen Bogardus (Preston Drake)
Two old female friends and rivals get together and the drama plays out between them. One could almost imagine such a play between two male rivals, although surely it would not be so caddy.
As much as I admire older shows, sitting through this production, I had a difficult time coming up with a compelling reason to revive this particular show. As a play, it is rather staid and uninteresting. The premise is flat, and development of the plot is predictable, and the characters are, even when developed, rather uninteresting. What the play does seem to provide, I will admit, is an opportunity for two actors to have lots of stage time, often with showy speeches and exchanges. It would appear to be a vehicle to showcase some good acting, which I suppose is part of the Roundabout formula for revivals. The real purpose here is to provide Margaret Colin and Harriet Harris with that opportunity to showcase their talents, via the plethora of comic moments and some emotionally showy exchanges.
Harris gets the better of the play in this regard, although this is at least in part because she has the showier part. She is a comic genius, really, and she does not disappoint, whether it is in her total breakdowns or in her playful banter. Margaret Colin is also good, but she has a more difficult task because her character is the “straight” one – although she has led an interesting life to be sure.
Even as a vehicle for stars, however, the piece tends to fall flat. Even though Katherine and Mildred seem to have time to go at it, in fact, the results of their banter are of little interest to anyone. I don't believe this is the fault of the actors, I believe it is the defect in the work itself.
From a design standpoint, this production also provides a tremendous opportunity for set design. It's rare, particularly in a play, that the scenery gets its own applause, but such is the case at the opening of the second act, when the curtain lifts to reveal a colorful, playful, and over-the-top home of the colorful and over-the-top Mildred. It is a spectacular set, to be sure, though part of me wonders whether the applause was simply a symptom of a desperate audience trying to find something to be happy about while watching this play.
American Airlines Theatre, New York, NY
By: John van Druten (playwright), Michael Wilson (direction), Alexander Dodge (set design), David C. Woolard (costume design), Rui Rita (lighting design)
Starring: Margaret Colin (Katherine Markham), Corey Stoll (Rudd Kendall), Diane Davis (Deirdre Drake), Gordana Rashovich (Karina), Harriet Harris (Mildred Watson Drake), Cynthia Darlow (Susan), Stephen Bogardus (Preston Drake)
Two old female friends and rivals get together and the drama plays out between them. One could almost imagine such a play between two male rivals, although surely it would not be so caddy.
As much as I admire older shows, sitting through this production, I had a difficult time coming up with a compelling reason to revive this particular show. As a play, it is rather staid and uninteresting. The premise is flat, and development of the plot is predictable, and the characters are, even when developed, rather uninteresting. What the play does seem to provide, I will admit, is an opportunity for two actors to have lots of stage time, often with showy speeches and exchanges. It would appear to be a vehicle to showcase some good acting, which I suppose is part of the Roundabout formula for revivals. The real purpose here is to provide Margaret Colin and Harriet Harris with that opportunity to showcase their talents, via the plethora of comic moments and some emotionally showy exchanges.
Harris gets the better of the play in this regard, although this is at least in part because she has the showier part. She is a comic genius, really, and she does not disappoint, whether it is in her total breakdowns or in her playful banter. Margaret Colin is also good, but she has a more difficult task because her character is the “straight” one – although she has led an interesting life to be sure.
Even as a vehicle for stars, however, the piece tends to fall flat. Even though Katherine and Mildred seem to have time to go at it, in fact, the results of their banter are of little interest to anyone. I don't believe this is the fault of the actors, I believe it is the defect in the work itself.
From a design standpoint, this production also provides a tremendous opportunity for set design. It's rare, particularly in a play, that the scenery gets its own applause, but such is the case at the opening of the second act, when the curtain lifts to reveal a colorful, playful, and over-the-top home of the colorful and over-the-top Mildred. It is a spectacular set, to be sure, though part of me wonders whether the applause was simply a symptom of a desperate audience trying to find something to be happy about while watching this play.
Monday, July 9, 2007
Review-10 Million Miles (7.5.07)
10 Million Miles (Thursday, 7.5.07)
Linda Gross Theatre (Atlantic Theatre Company), New York, NY
By: Patty Griffin (music, lyrics), Keith Bunin (book)
Starring: Matthew Morrison (Duane), Irene Molloy (Molly), Mare Winningham (The Women), Skipp Sudduth (The Men)
Let's start by saying this is no Spring Awakening.
This is not to say that the Atlantic Theatre has tried to say it is, and the show itself couldn't be further away from the concept of that show. But many reviewers have talked about Spring Awakening, since that was last summer's big hit at the Atlantic, which then transferred to Broadway and won a gaggle of Tony Awards. It's rather unfair, it would seem, to try and compare 10 Million Miles to that show.
Which is not to say that 10 Million Miles is not an enjoyable show. In fact, I found it quite entertaining within its confines.
Okay, so the story line is not particularly strong, and like most jukebox musicals, the show suffers now and then because individual songs (or parts of songs) don't quite fit where they've been placed. But this is not a show that is supposed to be plot-heavy, and I have to say, it captures the mood and essence of Patty Griffin's music perfectly. It is introspective without being overly dramatic, accepting of defeat and drudgery (country misery) in an almost matter-of-fact way. And I have to say, I thoroughly enjoyed listening to these renditions of Ms. Griffin's songs. I found the show nothing short of refreshing, and thought it achieved theatricality without the conventional melodrama that musical theatre tends to have.
The four-member cast is impressive all around. Mare Winningham is absolutely brilliant. She switches easily from character to character seamlessly. She is a surprisingly talented singer, wrapping her voice around both note and character. What is particularly impressive is how quickly she manages to capture character within minutes. I rather felt like I was watching at least three or four different actresses play her parts. She is that good. Skipp Sudduth also does some nice work, not quite as chameleon-like as Winningham, but still engaging, especially as Duane’s army buddy.
As for the two leads, it would be hard to imagine a better coupling than Matthew Morrison and Irene Molloy. Morrison is thoroughly engaging, humorous throughout in both manner and movement, but also showing glimpses of character beneath. He is sexy and magnetic at times, infuriating and off-putting at others, and captured the Duane character brilliantly. Irene Molloy was much cooler, and at first is a bit off-putting. But over the course of the show, she really builds. More critically, her kind of complacency -- even just shrugging off Duane's completely unacceptable behavior toward her -- was surprisingly touching, and was probably the only way to make what happens next believable. When she breaks down momentarily with her Aunt, it is a very touching moment. So much of these characters is understated. It fit in perfectly with the country-inspired style of the music.
Reviewers have noted a lack of chemistry between the Morrison and Molloy, but I disagree. I think there was an intentional building of a wall between the two, representing their ambivalence about their relationship. Their entire relationship is supposed to be filled with doubt. Molloy's constant pulling away and reluctance to be intimate, juxtaposed with the occasional heavy kiss or display of affection, was entirely believable.
The show has a number of obvious flaws, but I found it quite compelling nonetheless. I have to say I found it far more enjoyable than a number of musicals on Broadway this past season. Whatever its faults, it is nice to see this type of work produced on stage. We can only hope that the Atlantic and other companies will continue to present such works.
Linda Gross Theatre (Atlantic Theatre Company), New York, NY
By: Patty Griffin (music, lyrics), Keith Bunin (book)
Starring: Matthew Morrison (Duane), Irene Molloy (Molly), Mare Winningham (The Women), Skipp Sudduth (The Men)
Let's start by saying this is no Spring Awakening.
This is not to say that the Atlantic Theatre has tried to say it is, and the show itself couldn't be further away from the concept of that show. But many reviewers have talked about Spring Awakening, since that was last summer's big hit at the Atlantic, which then transferred to Broadway and won a gaggle of Tony Awards. It's rather unfair, it would seem, to try and compare 10 Million Miles to that show.
Which is not to say that 10 Million Miles is not an enjoyable show. In fact, I found it quite entertaining within its confines.
Okay, so the story line is not particularly strong, and like most jukebox musicals, the show suffers now and then because individual songs (or parts of songs) don't quite fit where they've been placed. But this is not a show that is supposed to be plot-heavy, and I have to say, it captures the mood and essence of Patty Griffin's music perfectly. It is introspective without being overly dramatic, accepting of defeat and drudgery (country misery) in an almost matter-of-fact way. And I have to say, I thoroughly enjoyed listening to these renditions of Ms. Griffin's songs. I found the show nothing short of refreshing, and thought it achieved theatricality without the conventional melodrama that musical theatre tends to have.
The four-member cast is impressive all around. Mare Winningham is absolutely brilliant. She switches easily from character to character seamlessly. She is a surprisingly talented singer, wrapping her voice around both note and character. What is particularly impressive is how quickly she manages to capture character within minutes. I rather felt like I was watching at least three or four different actresses play her parts. She is that good. Skipp Sudduth also does some nice work, not quite as chameleon-like as Winningham, but still engaging, especially as Duane’s army buddy.
As for the two leads, it would be hard to imagine a better coupling than Matthew Morrison and Irene Molloy. Morrison is thoroughly engaging, humorous throughout in both manner and movement, but also showing glimpses of character beneath. He is sexy and magnetic at times, infuriating and off-putting at others, and captured the Duane character brilliantly. Irene Molloy was much cooler, and at first is a bit off-putting. But over the course of the show, she really builds. More critically, her kind of complacency -- even just shrugging off Duane's completely unacceptable behavior toward her -- was surprisingly touching, and was probably the only way to make what happens next believable. When she breaks down momentarily with her Aunt, it is a very touching moment. So much of these characters is understated. It fit in perfectly with the country-inspired style of the music.
Reviewers have noted a lack of chemistry between the Morrison and Molloy, but I disagree. I think there was an intentional building of a wall between the two, representing their ambivalence about their relationship. Their entire relationship is supposed to be filled with doubt. Molloy's constant pulling away and reluctance to be intimate, juxtaposed with the occasional heavy kiss or display of affection, was entirely believable.
The show has a number of obvious flaws, but I found it quite compelling nonetheless. I have to say I found it far more enjoyable than a number of musicals on Broadway this past season. Whatever its faults, it is nice to see this type of work produced on stage. We can only hope that the Atlantic and other companies will continue to present such works.
Friday, July 6, 2007
Review-Company (7.1.07)
Company (Sunday, July 1, 2007, 3 p.m.)
Barrymore Theatre, New York, NY
By: Stephen Sondheim (music, lyrics), George Furth (book), John Doyle (direction)
Starring: Raul Esparza (Robert), Barbara Walsh (Joanne), Keith Buterbaugh (Harry), Matt Castle (Peter), Robert Cunningham (Paul), Angel Desai (Marta), Kelly Jeanne Grant (Kathy), Kristin Huffman (Sarah), Amy Justman (Susan), Heather Laws (Amy), Leenya Rideout (Jenny), Fred Rose (David), Bruce Sabath (Larry), Elizabeth Stanley (April)
It is difficult to comprehend why this production of Company did not catch on. It is brilliantly theatrical, innovative, humorous, passionate, and boasts some of the most stunning performances of the season. The production is anchored by an absolutely brilliant star turn, but is also supported with a fine company of supporting players, many of them making their Broadway debuts. And the music – it is an absolutely amazing score, and it couldn’t be sung better. There is so much that just seems right about Broadway when sitting through this, the final performance of one of the most brilliant productions to reach Broadway in years, and to my mind the finest of the season.
Given that this was the final performance, the sell-out audience was extremely enthusiastic. When Raul Esparza first walked on to the stage, there was thunderous applause. Indeed, there was thunderous applause at many points throughout the show, and several numbers, even those that are ordinarily well-received, were recognized with sustained breaks. It was a love-fest all around, and there was something particularly touching about witnessing the outpouring of affection by this audience for the cast.
But this recognition and applause was not gratuitous, it was earned, not just by the past seven months of performances (often to half-empty houses), but rather through an absolutely fine performance that captured every possible nuance and inflection in the overlooked book. Every line, every word, every note seemed to pop and glisten. And every supporting player seemed to be “on.”
I have always felt that notwithstanding that this show centers around Bobby, it requires an absolute stellar supporting cast to make it work. Bobby’s life is not about him, it is about his existence among his friends. Here is where I think this production excels above all others – it’s cast is uniformly excellent without drawing the focus of attention away from Bobby. It is all the more impressive because the actors play the instruments (and play it well) – but even without Doyle’s gimick, I believe this cast was absolutely perfect. It is difficult to single out individuals members of the company, but certainly Heather Laws, Kristin Huffman, Elizabeth Stanley, and Keith Buterbaugh have some of the more memorable moments, but, really, each and every actor is brilliant. Barbara Walsh – her deadpan timing and her amazing ability to reveal her vulnerabilities through a facade – is sensational, and she tore up the theatre with her rendition of “The Ladies Who Lunch.” And what delightful performances by Elizabeth Stanley, Angel Desai, and Kelly Jeanne Grant.
Of course, it is difficult to say more about Raul Esparza, who delivers the performance that now must be regarded as defining the role of Bobby. Esparza is handsome and charismatic, and yet he somehow recedes into the background. His Bobby is a true observer, yet because of his presence, everyone still wants to include him. And yet even when he is observing, he is the focus of our thoughts. And, of course, when he opens his mouth and delivers that throaty baritone, well, it just doesn’t get much better than that. He manages to make “Marry Me A Little” work in the context of the show, and “Being Alive” is simply explosive and cathartic. The spontaneous standing ovation after “Being Alive” felt like a natural culmination of all the years that the character of Bobby has gone through, and that Esparza no doubt went through with the role.
Everything about this Company glistens, and it’s the rare theatrical experience about which I will probably talk for the rest of my life. Particularly after seeing the staid production of Grey Gardens playing just a block away, this Company was a welcome theatrical relief. Every theatre-goer who was able to witness it live should be thankful. This is what live theatre is all about, and this is why we love it. Add 'em up Bobby.
Barrymore Theatre, New York, NY
By: Stephen Sondheim (music, lyrics), George Furth (book), John Doyle (direction)
Starring: Raul Esparza (Robert), Barbara Walsh (Joanne), Keith Buterbaugh (Harry), Matt Castle (Peter), Robert Cunningham (Paul), Angel Desai (Marta), Kelly Jeanne Grant (Kathy), Kristin Huffman (Sarah), Amy Justman (Susan), Heather Laws (Amy), Leenya Rideout (Jenny), Fred Rose (David), Bruce Sabath (Larry), Elizabeth Stanley (April)
It is difficult to comprehend why this production of Company did not catch on. It is brilliantly theatrical, innovative, humorous, passionate, and boasts some of the most stunning performances of the season. The production is anchored by an absolutely brilliant star turn, but is also supported with a fine company of supporting players, many of them making their Broadway debuts. And the music – it is an absolutely amazing score, and it couldn’t be sung better. There is so much that just seems right about Broadway when sitting through this, the final performance of one of the most brilliant productions to reach Broadway in years, and to my mind the finest of the season.
Given that this was the final performance, the sell-out audience was extremely enthusiastic. When Raul Esparza first walked on to the stage, there was thunderous applause. Indeed, there was thunderous applause at many points throughout the show, and several numbers, even those that are ordinarily well-received, were recognized with sustained breaks. It was a love-fest all around, and there was something particularly touching about witnessing the outpouring of affection by this audience for the cast.
But this recognition and applause was not gratuitous, it was earned, not just by the past seven months of performances (often to half-empty houses), but rather through an absolutely fine performance that captured every possible nuance and inflection in the overlooked book. Every line, every word, every note seemed to pop and glisten. And every supporting player seemed to be “on.”
I have always felt that notwithstanding that this show centers around Bobby, it requires an absolute stellar supporting cast to make it work. Bobby’s life is not about him, it is about his existence among his friends. Here is where I think this production excels above all others – it’s cast is uniformly excellent without drawing the focus of attention away from Bobby. It is all the more impressive because the actors play the instruments (and play it well) – but even without Doyle’s gimick, I believe this cast was absolutely perfect. It is difficult to single out individuals members of the company, but certainly Heather Laws, Kristin Huffman, Elizabeth Stanley, and Keith Buterbaugh have some of the more memorable moments, but, really, each and every actor is brilliant. Barbara Walsh – her deadpan timing and her amazing ability to reveal her vulnerabilities through a facade – is sensational, and she tore up the theatre with her rendition of “The Ladies Who Lunch.” And what delightful performances by Elizabeth Stanley, Angel Desai, and Kelly Jeanne Grant.
Of course, it is difficult to say more about Raul Esparza, who delivers the performance that now must be regarded as defining the role of Bobby. Esparza is handsome and charismatic, and yet he somehow recedes into the background. His Bobby is a true observer, yet because of his presence, everyone still wants to include him. And yet even when he is observing, he is the focus of our thoughts. And, of course, when he opens his mouth and delivers that throaty baritone, well, it just doesn’t get much better than that. He manages to make “Marry Me A Little” work in the context of the show, and “Being Alive” is simply explosive and cathartic. The spontaneous standing ovation after “Being Alive” felt like a natural culmination of all the years that the character of Bobby has gone through, and that Esparza no doubt went through with the role.
Everything about this Company glistens, and it’s the rare theatrical experience about which I will probably talk for the rest of my life. Particularly after seeing the staid production of Grey Gardens playing just a block away, this Company was a welcome theatrical relief. Every theatre-goer who was able to witness it live should be thankful. This is what live theatre is all about, and this is why we love it. Add 'em up Bobby.
Wednesday, July 4, 2007
Review-Grey Gardens (6.30.07)
Grey Gardens (Saturday, 6.30.07)
Walter Kerr Theatre, New York, NY
By: Doug Wright (book), Scott Frankel (music), Michael Korie (lyrics), Michael Greif (direction), Jeff Calhoun (musical staging), Allen Moyer (scenic design), William Ivey Long (costumes), Peter Kaczorowski (lighting), Brian Ronan (sound), Bruce Coughlin (orchestrations)
Starring: Christine Ebersole (“Little” Edie Boulet/Edith Bouvier Beale), Mary Louise Wilson (Edith Bouvier Beale), John McMartin (J.V. “Major Bouvier/Norman Vincent Peale), Matt Cavenaugh (Joseph Patrick Kennedy, Jr./Jerry), Erine Davie (Young “Little” Edit Beale), Kelsey Fowler (Lee Bouvier), Sarah Hyland (Jacqueline Bouvier), Bob Stillman (George Gould Strong), Michael W. Howell (s/b, Brooks, Sr., Brooks, Jr.)
The Maisley documentary about Grey Gardens is fascinating. The knowledge that you are watching real people in a documentary (as opposed to actors playing a part) goes a long way to indulging one's morbid sense of curiosity. Watching it leads to all sorts of questions -- are these people putting on an act? How is is that these ladies got to this point?
Watching the second act of Grey Gardens brings back much of the impression that one gets watching the film, probably because of Christine Ebersole's dead-on impressions of Little Edie. Ebersole has every mannerism, every croon, every uttered word just right. And, of course, she has that glorious vocal instrument through which she delivers the songs, one or two actually quite pretty. Although the effect of the second act is not quite the same as the film because of our consciousness that this is acting rather than actual persons, Ebersole's performance goes a long, long way.
Unfortunately, before we get there, we have to sit through the first act, which one supposes is the creators' attempt to set a background and set-up for the bizarreness that is act two. And here is where Grey Gardens falters. For Act I of Grey Gardens, in stark contrast to Act II, came across to me as being quaint -- pretty in some respects, but in most a bit staid and even uninspiring. Notwithstanding Ms. Ebersole's luminous presence as Big Edie and a script that has significantly more action than in Act II, there is something sorely missing. Although the very opening scene started promisingly (the transition from the opening scene in the 1970s quickly transporting you decades before is stunning), the story that is then told is falls flat. It doesn't help that the very period music is banal, and while the actors attack the material with gusto, I never really felt invested in the characters. Erin Davie is, to be sure, an improvement over Sara Gettelfinger (who starred at Playwright Horizons) as Young Edie, but she never really convinced me. And the thought that this creature would grow to up become Christine Ebersole in Act II? Absolutely unimaginable.
The other problem is that the first act is told in regular exposition (third-person), where the much more compelling second act is in first-person. This juxtaposition of altered perspectives is jarring, and contributes to a feeling of disconnect between the two acts. Perhaps this is why the second act works so much better -- Ebersole is able to spend her time talking directly to the audience, and she is marvelous at this interaction.
Ebersole is, on all fronts, absolutely terrific. She is utterly gorgeous as the elder Edith in the first act, and fascinating as Young Edie in the second act. Her performance is a tour-de-force and the sole reason to see this production. It is difficult to imagine this show without her. The remainder of the show's cast is also quite good. Mary Louise Wilson turns in a nice performance as well, croaking out such oddities as “Jerry Likes My Corn.” She's a nice counterbalance to Little Edie. John McMartin is excellent, providing both humor and drama in his interchanges with Edie, while Bob Stillman sings absolutely beautifully. And Matt Cavenaugh lends some nice moments as Patrick Kennedy and as Jerry, Big Edie's unlikely friend, although his accent is absolutely grating.
All that said, the inclusion of several excellent elements (acting and design) is simply not enough to overcome what I suppose are flaws in the show's book, or perhaps just in its overall structure. In the end, for me, this show is about Ebersole, and that is what I'll remember about the show -- her astonishing performance which deservedly garnered every theatre award imaginable.
Walter Kerr Theatre, New York, NY
By: Doug Wright (book), Scott Frankel (music), Michael Korie (lyrics), Michael Greif (direction), Jeff Calhoun (musical staging), Allen Moyer (scenic design), William Ivey Long (costumes), Peter Kaczorowski (lighting), Brian Ronan (sound), Bruce Coughlin (orchestrations)
Starring: Christine Ebersole (“Little” Edie Boulet/Edith Bouvier Beale), Mary Louise Wilson (Edith Bouvier Beale), John McMartin (J.V. “Major Bouvier/Norman Vincent Peale), Matt Cavenaugh (Joseph Patrick Kennedy, Jr./Jerry), Erine Davie (Young “Little” Edit Beale), Kelsey Fowler (Lee Bouvier), Sarah Hyland (Jacqueline Bouvier), Bob Stillman (George Gould Strong), Michael W. Howell (s/b, Brooks, Sr., Brooks, Jr.)
The Maisley documentary about Grey Gardens is fascinating. The knowledge that you are watching real people in a documentary (as opposed to actors playing a part) goes a long way to indulging one's morbid sense of curiosity. Watching it leads to all sorts of questions -- are these people putting on an act? How is is that these ladies got to this point?
Watching the second act of Grey Gardens brings back much of the impression that one gets watching the film, probably because of Christine Ebersole's dead-on impressions of Little Edie. Ebersole has every mannerism, every croon, every uttered word just right. And, of course, she has that glorious vocal instrument through which she delivers the songs, one or two actually quite pretty. Although the effect of the second act is not quite the same as the film because of our consciousness that this is acting rather than actual persons, Ebersole's performance goes a long, long way.
Unfortunately, before we get there, we have to sit through the first act, which one supposes is the creators' attempt to set a background and set-up for the bizarreness that is act two. And here is where Grey Gardens falters. For Act I of Grey Gardens, in stark contrast to Act II, came across to me as being quaint -- pretty in some respects, but in most a bit staid and even uninspiring. Notwithstanding Ms. Ebersole's luminous presence as Big Edie and a script that has significantly more action than in Act II, there is something sorely missing. Although the very opening scene started promisingly (the transition from the opening scene in the 1970s quickly transporting you decades before is stunning), the story that is then told is falls flat. It doesn't help that the very period music is banal, and while the actors attack the material with gusto, I never really felt invested in the characters. Erin Davie is, to be sure, an improvement over Sara Gettelfinger (who starred at Playwright Horizons) as Young Edie, but she never really convinced me. And the thought that this creature would grow to up become Christine Ebersole in Act II? Absolutely unimaginable.
The other problem is that the first act is told in regular exposition (third-person), where the much more compelling second act is in first-person. This juxtaposition of altered perspectives is jarring, and contributes to a feeling of disconnect between the two acts. Perhaps this is why the second act works so much better -- Ebersole is able to spend her time talking directly to the audience, and she is marvelous at this interaction.
Ebersole is, on all fronts, absolutely terrific. She is utterly gorgeous as the elder Edith in the first act, and fascinating as Young Edie in the second act. Her performance is a tour-de-force and the sole reason to see this production. It is difficult to imagine this show without her. The remainder of the show's cast is also quite good. Mary Louise Wilson turns in a nice performance as well, croaking out such oddities as “Jerry Likes My Corn.” She's a nice counterbalance to Little Edie. John McMartin is excellent, providing both humor and drama in his interchanges with Edie, while Bob Stillman sings absolutely beautifully. And Matt Cavenaugh lends some nice moments as Patrick Kennedy and as Jerry, Big Edie's unlikely friend, although his accent is absolutely grating.
All that said, the inclusion of several excellent elements (acting and design) is simply not enough to overcome what I suppose are flaws in the show's book, or perhaps just in its overall structure. In the end, for me, this show is about Ebersole, and that is what I'll remember about the show -- her astonishing performance which deservedly garnered every theatre award imaginable.
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