The Light in the Piazza (Saturday, 1.28.06)
Vivian Beaumont Theatre, New York, NY
By: Adam Guettel (music, lyrics), Craig Lucas (book)
Starring: Victoria Clark (Margaret Johnson), Katie Clarke (Clara Johnson), David Burnham (Fabrizio Naccarelli, u/s), Chris Sarandon (Signor Naccarelli), Michael Berresse (Giuseppe Naccarelli), Sara Uriarte Berry (Franca Naccarelli), Patti Cohenour (Signora Naccarelli), Beau Gravitte (Roy Johnson)
This is my first viewing of this show since the major cast changes, and the good news to report is that it is still a strong piece. While none of the replacement actors is as strong as strong as the actors they replace, each brings their own qualities, and still connect in this remarkably beautiful piece. Still soaring is Adam Guettel’s tremendous score, and still touching is Craig Lucas’ beautifully constructed book. This was and remains the most beautiful and most touching new musical of last season.
Katie Clarke joins the cast as the fresh new Clara Johnson. Clarke looks the part and is particularly good as a sweet-faced 12-year-old, what she lacks is that soaring soprano which transforms easily into the more sensual 26-year-old woman that she really is. It is difficult, because Clarke replaced Kelli O’Hara, probably the perfect actress for the part, and by that yardstick she fails miserably. But she is a passable replacement, and certainly over time will grow into the part.
Understudying for Aaron Lazar is David Burnham, who is clearly having fun in a role that is a really well beyond his reach both vocally and dramatically. Burnham seems to be trying a little too hard in all respects. He is obviously playing the character, but he never really inhabits it like his predecessors. Nevertheless, it is fun to see an actor really relish his opportunity to go on stage.
Chris Sarandon is probably the best replacement of the three. His Naccarelli is a little more stern and a little less charming, but equally as compelling and appropriate for his character. He doesn’t sing particularly well, but the character doesn’t really call for that anyway. He counterbalances Victoria Clark’s performance quite well.
Victoria Clark is still the center of this show, and her performance is as rich and as moving, both vocally and dramatically, as ever. Each of her big numbers, particularly Fable, is so beautifully performed, and she peppers in her tremendous comic timing throughout the show. Her performance is truly a revelation, the kind of performance that marks a career. She makes the show truly memorable.
Showing posts with label Lincoln Center. Show all posts
Showing posts with label Lincoln Center. Show all posts
Tuesday, January 30, 2007
Tuesday, January 9, 2007
Review-The Coast of Utopia-Shipwreck (1.7.07)
The Coast of Utopia-Shipwreck (Sunday, 1.7.07, 3 p.m.)
Vivian Beaumont Theatre (Lincoln Center)
Starring: Brian F. O’Byrne (Alexander Herzen), Jennifer Ehle (Natalie Herzen), Josh Hamilton (Nicholas Ogarev), Jason Butler Harner (Ivan Turgenev), Billy Crudup (Vissarion Belinsky), Patricia Conolly (Mme. Haag), David Harbour (George Herwegh), Bianca Amato (Emma Herwegh), Ethan Hawke (Michael Bakunin), Adam Dannheisser (Karl Marx), Martha Plimpton (Natasha Tuchkov), Amy Irving (Maria Ogarev), Richard Easton (Leonty Ibayev)
In the opening moments of Shipwreck, the second part of Tom Stoppard’s Russian trilogy, Alexander Herzen appears, seated, suspended in the air as the sea, while wind-whipped sheets flutter below and around him. It is as if Herzen is out at sea, a single man amidst an ocean. But Herzen is not drowning, he does not seem lost and solitary, rather, he is floating in the heavens, treading treacherously above the raging sea beneath. It is a powerful image that makes the heart race, but more importantly, it is a powerful image that portends what will come in the next three hours.
During the miraculous proceedings that follow, the character of Herzen does struggle -- he struggles with his ideas, with his life, with his love, with his priorities. But Herzen is never swallowed up by it; rather, he remains the rapt focus of our attentions. Played brilliantly by Brian F. O’Byrne, Herzen captivates, with humor, with passion, with emotion -- we remain spellbound, waiting for each subsequent word to be formed by his lips. So captivating is O’Byrne that, were this part not so focused on Herzen, he would threaten to throw the entire proceedings out of balance.
If fact, though, O’Byrne is just one brilliant part of this magnificent second part of the trilogy. Here Stoppard is at his absolute best -- writing witty exchanges of ideas that would seem to be the kind of exchanges that these so-called intellectuals would have uttered. Whereas Part I seemed almost muted in these exchanges (and part of the reason for this, in retrospect, is the fact that Michael Bakunin, who was all about action and no substance, was the center of that part), here they shimmer and crackle.
The production also benefits by getting away from the Bakunin household to tell the much more poignant story of Herzen, Herzen's wife Natalie (a luminous Jennifer Ehle), and his deaf son. For while there is a good deal to admire and enjoy in Stoppard’s witty exchanges, the piece finds its emotional depth in what happens to the individual characters. It is in part two that we not only learn of the tragedies that befall Herzin, but also of the imprisonment of Bakunin, and the death of Billy Crudup’s compelling Belinsky, who figured so centrally in the latter half of The Voyage.
Shipwreck also benefits from historical events, which help to whip forward the action and propel the piece forward by giving more context. In this case, it is the second Paris revolution of 1848 which, while a big flop in the revolutionary sense, figured prominently into the thoughts of these Russian thinkers. The revolution also provides one of the more dramatic and captivating displays and innovative use of set pieces.
There are other excellent supporting performances here, particularly Jason Butler Harner, who is exudes warmth and thoughtfulness as the writer Turgenev. There is also David Harbour’s half-German George Herwegh, who is humorous as the overgrown child who is also Herzen’s wife’s lover. And Amy Irving delivers a delicious cameo appearance as Nicholas Ogarev’s wife, Maria, who refuses to give him a divorce and has some wonderfully lusty exchanges with Natalie.
Jack O’Brien’s seamless direction takes full advantage not only of his terrific central cast, but also of the large “chorus” which simulates the Russian peasantry. His use of simple elements -- such as tree branches -- to ground the piece to mother Russia is exemplary. O’Brien's efforts are well complemented by Bob Crowley’s sumptuous set and Kenneth Posner’s excellent lighting design. While The Voyage was an adequate prelude and introduction to Stoppard’s world of early 19th century Russia, nothing quite prepares you for the breathtaking pace and passion of part two. If in crafting Part III the creators can capture a fraction of the magic on display in Shipwreck, then they will have on their hands an enormous success.
Vivian Beaumont Theatre (Lincoln Center)
Starring: Brian F. O’Byrne (Alexander Herzen), Jennifer Ehle (Natalie Herzen), Josh Hamilton (Nicholas Ogarev), Jason Butler Harner (Ivan Turgenev), Billy Crudup (Vissarion Belinsky), Patricia Conolly (Mme. Haag), David Harbour (George Herwegh), Bianca Amato (Emma Herwegh), Ethan Hawke (Michael Bakunin), Adam Dannheisser (Karl Marx), Martha Plimpton (Natasha Tuchkov), Amy Irving (Maria Ogarev), Richard Easton (Leonty Ibayev)
In the opening moments of Shipwreck, the second part of Tom Stoppard’s Russian trilogy, Alexander Herzen appears, seated, suspended in the air as the sea, while wind-whipped sheets flutter below and around him. It is as if Herzen is out at sea, a single man amidst an ocean. But Herzen is not drowning, he does not seem lost and solitary, rather, he is floating in the heavens, treading treacherously above the raging sea beneath. It is a powerful image that makes the heart race, but more importantly, it is a powerful image that portends what will come in the next three hours.
During the miraculous proceedings that follow, the character of Herzen does struggle -- he struggles with his ideas, with his life, with his love, with his priorities. But Herzen is never swallowed up by it; rather, he remains the rapt focus of our attentions. Played brilliantly by Brian F. O’Byrne, Herzen captivates, with humor, with passion, with emotion -- we remain spellbound, waiting for each subsequent word to be formed by his lips. So captivating is O’Byrne that, were this part not so focused on Herzen, he would threaten to throw the entire proceedings out of balance.
If fact, though, O’Byrne is just one brilliant part of this magnificent second part of the trilogy. Here Stoppard is at his absolute best -- writing witty exchanges of ideas that would seem to be the kind of exchanges that these so-called intellectuals would have uttered. Whereas Part I seemed almost muted in these exchanges (and part of the reason for this, in retrospect, is the fact that Michael Bakunin, who was all about action and no substance, was the center of that part), here they shimmer and crackle.
The production also benefits by getting away from the Bakunin household to tell the much more poignant story of Herzen, Herzen's wife Natalie (a luminous Jennifer Ehle), and his deaf son. For while there is a good deal to admire and enjoy in Stoppard’s witty exchanges, the piece finds its emotional depth in what happens to the individual characters. It is in part two that we not only learn of the tragedies that befall Herzin, but also of the imprisonment of Bakunin, and the death of Billy Crudup’s compelling Belinsky, who figured so centrally in the latter half of The Voyage.
Shipwreck also benefits from historical events, which help to whip forward the action and propel the piece forward by giving more context. In this case, it is the second Paris revolution of 1848 which, while a big flop in the revolutionary sense, figured prominently into the thoughts of these Russian thinkers. The revolution also provides one of the more dramatic and captivating displays and innovative use of set pieces.
There are other excellent supporting performances here, particularly Jason Butler Harner, who is exudes warmth and thoughtfulness as the writer Turgenev. There is also David Harbour’s half-German George Herwegh, who is humorous as the overgrown child who is also Herzen’s wife’s lover. And Amy Irving delivers a delicious cameo appearance as Nicholas Ogarev’s wife, Maria, who refuses to give him a divorce and has some wonderfully lusty exchanges with Natalie.
Jack O’Brien’s seamless direction takes full advantage not only of his terrific central cast, but also of the large “chorus” which simulates the Russian peasantry. His use of simple elements -- such as tree branches -- to ground the piece to mother Russia is exemplary. O’Brien's efforts are well complemented by Bob Crowley’s sumptuous set and Kenneth Posner’s excellent lighting design. While The Voyage was an adequate prelude and introduction to Stoppard’s world of early 19th century Russia, nothing quite prepares you for the breathtaking pace and passion of part two. If in crafting Part III the creators can capture a fraction of the magic on display in Shipwreck, then they will have on their hands an enormous success.
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