Lucky you! We expect a full report . . . .Originally Posted by haqyunus
I am going to see both in Mar and Feb respectively
Lucky you! We expect a full report . . . .I am going to see both in Mar and Feb respectively
The Heiress will close a day early so Jessica Chastain can attend the BAFTAs.
http://www.playbill.com/news/article...BAFTA-Ceremony
My mom is taking me to book of mormon next week in nyc. i'm really excited!!!!!!
Gavin Creel is Elder Price in NY right now? I might go to see the BOM next month.
Matt Doyle is Elder Price in NY right now, and he's just as talented as Creel.
Creel is in London, I'm going to see him on Easter and I can't wait. Love that show so much.
Remember Crystal Bowersox from American Idol a few years ago?
Well, she's coming to Broadway this summer to play Patsy Cline in "Always... Patsy Cline."
http://www.playbill.com/news/article...in-Summer-2013
Shia LaBeouf has pulled out of his Broadway show with Alec Baldwin (would been Shia's debut), over "creative differences."
http://www.playbill.com/news/article...adways-Orphans
Ooh, Matt Doyle.
He was Eric van der Woodsen's boyfriend on Gossip Girl before the show completely went down the toilet. Good to see him doing big things when he was one of the few talented actors on the show.
Ang Lee - The only 2x Bafta/DGA/Oscar-Winning Director!
Meryl on Oscars: Y’see these little babies? These are my best f***ing friends
and they never let me down. Try to get ‘em away from me and I’ll eat you alive.
Anyone here seen the current touring Jekyll and Hyde musical w/Constantine Maroulis & Deborah Cox? I'm planning to go see it at the Pantages Theatre this Saturday. Can't wait to see Deborah bring the house down w/that "A New Life" number!
Will you join the Geography Club?
The Glass Menagerie at Cambridge was brilliant. The biggest achievement for me was that despite being so dramatic and obvious, almost bordering on humor/satire in some areas, it was so affecting and heartbreaking. You can't help but feel depressed or saddened by it. It was a pretty heavy experience and I was not expecting it. Every one in the quartet was brilliant with Cherry Jones and Zachary Quinto leading the pack of course. In fact it was partly due to their (specially Jones) performances which were astonishing in their delicate balance of humor and authentic pathos. For a while you get an impression that they might be caricatures but no. Not at all. As the play progressed, the direction and acting was anything but
Given how good she was and how iconic the role is, if this goes to Broadway, I see an easy nomination for Jones and possibly a win (trivia: according to her she always wanted to play Laura, the daughter but never got the chance.)
This interpretation was a faithful to the idea of 'memory-play' which Williams himself proposed and the play itself opens with this proclamation as well. The set was simple but clever and the direction and some set pieces, all were intricately interwoven with the idea of remembering and reminiscening and how we unconsciously and unwittingly (and sometimes deliberately) taint the facts by our own memory. Williams was not doubt was quite daring, I must say considering that this play first opened in 40s.)
Thanks for very much for posting this, and I'm jealous. Brantley gave it a rave as well, so I hope this might transfer to Broadway at some point.The Glass Menagerie at Cambridge was brilliant. The biggest achievement for me was that despite being so dramatic and obvious, almost bordering on humor/satire in some areas, it was so affecting and heartbreaking. You can't help but feel depressed or saddened by it. It was a pretty heavy experience and I was not expecting it. Every one in the quartet was brilliant with Cherry Jones and Zachary Quinto leading the pack of course. In fact it was partly due to their (specially Jones) performances which were astonishing in their delicate balance of humor and authentic pathos. For a while you get an impression that they might be caricatures but no. Not at all. As the play progressed, the direction and acting was anything but
Given how good she was and how iconic the role is, if this goes to Broadway, I see an easy nomination for Jones and possibly a win (trivia: according to her she always wanted to play Laura, the daughter but never got the chance.)
This interpretation was a faithful to the idea of 'memory-play' which Williams himself proposed and the play itself opens with this proclamation as well. The set was simple but clever and the direction and some set pieces, all were intricately interwoven with the idea of remembering and reminiscening and how we unconsciously and unwittingly (and sometimes deliberately) taint the facts by our own memory. Williams was not doubt was quite daring, I must say considering that this play first opened in 40s.)
It's my favorite Williams play--the language is exquisite, almost poetry. And it is so sad. You can't help but wonder what happened to Amanda and Laura after Tom left, but it's his "memory play", and he doesn't know so neither will we. Of course, he never really escapes them despite his best efforts:
"Oh, Laura, Laura, I tried to leave you behind me, but I am more faithful than I intended to be! I reach for a cigarette, I cross the street, I run into the movies or a bar, I buy a drink, I speak to the nearest stranger — anything that can blow your candles out! — for nowadays the world is lit by lightning! Blow out your candles Laura — and so goodbye . . . ."
Thanks, haqyunus, that's exciting to hear. The Glass Menagerie is not only my favorite Tennessee Williams play, it's probably my favorite American play, period (along with Long Day's Journey Into Night). You're right, it's a very inventive work, especially for that period of American theater. Williams was highly influenced by Brecht, and you can see that influence a lot in Menagerie.
I've never seen a live production, so if this new production is as good as you say, it might be worth the trip! I really love Joanne Woodward's performance as Amanda in the Paul Newman film adaptation.
Also, if you haven't read it, you might also be interested in this wonderful essay Williams wrote in the New York Times in response to the wild success of The Glass Menagerie. It's one of the most honest, perceptive accounts I've seen of what it's like to go from obscurity to fame, and what it can do to one's creativity and humanity. It's included in many print editions of the play:
http://truegoodbeautiful.com/uncateg...ssee-williams/
This is so true and the most damning, most sad thing. Like you feel so bad and so upset that what happen to poor women. The last we see them is helpless and in no hope or indication of improvement. In fact I was so involved in thinking about them that I couldn't even properly curse, judge, yell at Tom (lol)
The more I think about it, the more I realize that how the play upends all your expectations. For example, I thought that the Gentleman Caller and the ensuing scene would be typical and one-dimensional but no. That whole scene and the character of the young man is so fully fleshed out. The play and the character never shies away from the whole situation and he and the whole scene is presented in a ultra normal and matter of fact way. This authenticity/'realism' in fact further enhances the painful, pathetic nature of the situation/scene.
Thanks for it a great read. The fact that Williams wrote it so early in his career vouches for its honesty. It is not like that he, after spending years of hedonism, money and celebrity and then in his old age was spouting this. Thanks again as this article reminded me of some old, forgotten Urdu poetry on the similar topic that I loved (I am going to dig that up)
Vanessa Redgrave is getting raves for The Revisionist (more so and more unanimously than Driving Miss Daisy) even if the play is not that well-received itself. Obviously I could't be more please, lol.
Can't wait for Mar 16th.
I'm sure this new Glass Menagerie is great, but I can't imagine it's better than the revival with Judith Ivey a couple years back. I'm willing to find out though!
I'm very interested in The Revisionist. I thought Asuncion was a solid first play and I'm interested to see what Eisenberg does from there. And yeah, obviously Vanessa Redgrave too.
Eisenberg + Redgrave is such acombo for me. I'm so jealous of you haq.
COMING THIS AWARDS SEASON
GATSBY VS. GATSBY
Ouch. Both the NYT and EW said the only really enjoyable part of the Breakfast at Tiffany's adaptation is the cat.
Ang Lee - The only 2x Bafta/DGA/Oscar-Winning Director!
Meryl on Oscars: Y’see these little babies? These are my best f***ing friends
and they never let me down. Try to get ‘em away from me and I’ll eat you alive.
Apart form the ending which is kind of daringly surprising for such a play, The Revisionist was a mediocre effort. Mainly because the narrative and character development was kind of simple and convenient. Nothing much nuanced goes on. Eisenberg is good in what he does and actor but his shtick is getting old. But of course, the reason that I went to see was Redgrave and she is mesmerizing, worth every penny. What a totally immersed/dedicated actor (she was Polish!)
At 76, almost 6 feet tall, she gave not only an emotional but a highly physical and uninhibited performance (I was surprised that the play required for this physicality from her 75 character.) An opportunity not only to see her live but this close (Cherry Lane Theater is quite snug and small with nary a bad seat) was a life time opportunity. Apparently it is making a lot of money (record breaking in venue's history), already extended twice and rumors of Broadway transfer.
I saw Redgrave when she was on Broadway in Long Day's Journey. Best performance by an actress I've ever seen.
Yes, so that I hear. In fact Ben Brantley in his review of The Revisionist mentioned that it was Redgrave's greatest performance since and par with LDJITN!
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