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Tag Archives: Edward Albee

Who’s Afraid Of Virginia Woolf? – Review

Why in the world would a person willingly see a (three hour) play for the fourth time? How strong a suspicion would that viewer have of seeing something completely new? Very strong, 100 proof strong. From the very first sound (Martha’s gentle laughing off-stage) it was clear that this was a new George and Martha. Amy Morton and Tracy Letts, by way of Steppenwolf (and August Osage Country fame) are so very human that watching this production, directed by Pam MacKinnon is more akin to peeking in a window than looking at a stage.

Martha is often portrayed as a braying overtly sexual ball of venom. George is frequently placid and defeated. Ms. Morton & Mr. Letts have no interest in going down that road. When George refers to Martha’s party behavior as braying, her retort is barely in an outdoor voice. It’s then that we know this George and Martha are equally matched in their ferocity. Their words and manners, so natural and true, add a dimension to the rawness of their story, their marriage. Mr. Letts’ George is strong and knowing and funny. The treatment of Martha’s sensuality is an interesting interpretation. Many a Martha has climbed Nick as a boozy floozy in a too tight top. Ms. Morton seduces Nick in the least sexy of ways. She stumbles and clinically performs the seduction in a desperate attempt to have her husband respond. Nick’s interest is seen more clearly for what it is; ambition.

Nick and Honey, perfectly cast with Madison Dirks and Carrie Coon are far less naive and childlike than we’re accustomed. Nick holds his own amidst the incoming shells. Honey is young and quite tipsy, but very real and recognizable. The play motors along via free-range party games (Hump the Hostess, Bringing Up Baby, Get the Guests) as we discover what lies beneath. With the lower volume of this production we can really hear what is and what isn’t being said.

Ms. MacKinnon’s pacing and staging is fast and fluid. A magic trick of sorts results in the three acts rushing by as we simultaneously feel the characters’ building exhaustion. (This play should always been seen at night, preferably late at night.) Who’s Afraid of Virginia Woolf opens at the Booth Theatre on the 50th anniversary of its premiere (October 13th.) This production is a poignant and powerful tribute to Edward Albee’s most popular play.

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Posted by on September 29, 2012 in Uncategorized

 

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The Lady From Dubuque – Review

Edward Albee is not for the faint of heart.  You would not take in a matinee of his, expecting a light and frothy afternoon.  What you will get is a beautifully crafted peek into the human spirit. Those spirits are fighting for their lives in The Lady From Dubuque (Signature Theatre.)

Set in a suburban home, the play takes place over the course of one night and the following day.  The play (directed by David Esbjornson) opens on three couples playing a party game that involves the (oft repeated) phrase; “Who am I?”  The hosts Sam (Michael Hayden) and Jo (Laila Robins) bear a passing resemblance to another Albee couple; George and Martha.  In this case however, Sam is weakened by the kryptonite of his wife’s terminal disease.  Jo is biting, but not nearly to the degree to which she is entitled.  Their friends are mostly silly.  Edgar (Thomas Jay Ryan) and Lucinda (Catherine Curtin) are that special blend of vapid and shrill that makes some people phobic of the suburbs.  Fred (C.J. Wilson) and his girlfriend (Tricia Paoloccio) are at least interesting by virtue of his vulgarity and her preening.  There’s a reason these people all drink.

A bit past the midway of the first act, Jo rapidly deteriorates in (literal) gut wrenching pain.  It is difficult to watch the exquisite portrayal.  When Edgar demands that Jo, writhing in agony on the floor, get up and go apologize to his wife, Lucinda for an insult, it is almost too much to witness.  But then he points out what is so true it can not be discounted; his wife did not cause Jo’s pain, but Jo had caused Lucinda’s.  As Jo struggles to her feet, she is living rather than dying.  It is her last act of physicality.  The first act ends with a cresendo of agonizing wails and the appearance of an otherworldly figure; Elizabeth (Jane Alexander) and a dashing escort; Oscar (Peter Francis James.)

The tone of the second act is decidedly more physical, combative and high stakes.  Sam is frightened by the arrival of Elizabeth, who claims to be Jo’s mother.  His hysteria heightens and results in him being restrained (and ‘put to sleep’ with a strategic touch by Oscar.)  While he cannot articulate it, Sam knows who these people really are and why they are there.  The reality of death is simply far too painful for him to realize.

The rhythm and banter of Albee’s dialogue is a perfect conduit for this allegory.  His characters are so raw and real they create a platform for the surrealism that could feel forced or twee.  This play was not well received in 1980.  Death rarely is.  The only sticking point, for this audience member, was the treatment of race.  Much is made of Oscar’s “blackness” and the transition from superfluous racial humor to minstrel is rapid and unpleasant.  No doubt there is a dramatic intent, it just alluded me.

This is a flawless and beautiful production and should be seen by many.

 
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Posted by on April 1, 2012 in Uncategorized

 

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God of Carnage – Review

Hitting the leg of the person next to you (while laughing out loud) repeatedly during a performance is a good sign.  My stinging palm is proof that God of Carnage, at the Bernard Jacobs Theatre, is an absolute delight.  This French expose of modern marriage is written by Yasmina Reza (translated by Christopher Hampton) and directed by Matthew Warchus (Boeing Boeing, Follies, and numerous West End productions.)  Set in Cobble Hill Brooklyn in 90 minutes of real time, there is never a dull moment.  It seems dismissive to describe Ms. Reza’s work as a 21st century Who’s Afraid of Virginia Woolf, but somewhat apt.  Perhaps any theatrical construct of two married couples exposing the underbelly of their selves and their marital dynamics is going to conjure Edward Albee.  In the case of God of Carnage it was the fierce humor, and quite frankly, the drinking, that whispered “Virginia Woolf” repeatedly.  But that reference is merely a jumping off point for this play.  Without resorting to Lifetime movie tactics, God of Carnage manages to tackle; bullying, gangs, violence and social class while never losing its humor or dramatic interest.  The fact that the evening stays above the sentimental fray must be greatly credited to the incredible cast.  Hope Davis and Jeff Daniels as one couple and Marcia Gay Harden and James Gandolfini as the other couple.  Not enough can be said about the sheer delight in watching these four very talented people.  Ms. Harden has a luscious role and plays it like a virtuoso; she is hysterical and heartbreaking and infuriating.   As difficult as it is to take ones eyes off of Ms. Harden, this truly is an ensemble piece and it is clear that this quartet is having the time of their lives.  It speaks volumes to me that during repeated silences, the acting was equally as riveting as it was during the explosions.

Ms. Davis and Mr. Daniels (a wealth management professional and attorney) are visiting Ms. Harden and Mr. Gandolfini (an art historian and home fixture retailer) to discuss their sons’ recent physical altercation.  The stage is set in a dramatic fashion.  The entire stage is used as the living room; a rather unbelievable conceit for a Brooklyn home.  However, in an entertainment world in which Greenwich Village rent controlled apartments are 2,000 square feet with terraces, and newspaper columnists can support $650 a pair shoe shopping habits, all NYC scale bets are off.  There is a bold textured wall separating the living room from the rest of the apartment.  The wall is set at an angle and we can see the walls behind it, painted red.  As the play/story unfolds, the walls become progressively darker; a nice touch.  Despite the expanse of the apartment, it is surprising how much of the production so accurately represents time and place; keeping in mind that this play is French.  The only nod to its original Parisian setting is the omnipresence of the clafouti (a French pastry.)  The costumes, mannerisms and parental concerns simply scream “NYC 2009!”
I strongly recommend seeing this production, and seeing it with someone who does not bruise easily.
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Posted by on August 19, 2011 in Uncategorized

 

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