Congratulations to John Douglas Thompson!

It was a thrill to see that both Charles Isherwood (" . . . his fine work this year will not soon be forgotten by those privileged to see it. There may be no better classical actor working in the New York theater right now.") and Ben Brantley (" . . .in the title role of an African-American railroad porter turned tin-pot island despot, John Douglas Thompson--previously seen off Broadway as a truly majestic Othello-- staked his claim as one of the most compelling classical stage actors of his generation.") singled out the incredibly talented John Douglas Thompson in their articles on the best of NY theatre in the New York Times yesterday. I was bowled over by Mr. Thompson's talent this summer in Othello and The Dreamer Examines His Pillow at Shakespeare & Company in Lenox, MA. and vowed to see anything that had his name attached. Ann trusted me enough to agree to use one of our coveted slots on our last trip to NYC to see him in The Emperor Jones, and we were lucky enough to run into him in the small Irish Rep Theater when we picked up our tickets. He couldn't have been nicer or more gracious with his time--he even invited us to wait for him after the play so he could hear what we thought . . . It was a priviledge to be able to thank him in person for an absolutely amazing performance. Mr. Thompson will be playing Richard III at Shakespeare & Company this summer--we will certainly be there, front and center!

In the News . . .

It was great to see John Michael Hill, the young actor we saw recently in the excellent Superior Donuts, featured in the New York Times this week. Check out the article about this young star in the making.

The Times also gave the new production of Ragtime a strong review, which was good to see. The esteemed Ben Brantley singled out Christiane Noll in the role of Mother just as the CBs did in their review!

Last Days in NYC

On Saturday night, we saw After Miss Julie starring Sienna Miller and Johnny Lee Miller making their Broadway debuts at the Roundabout. Sienna Miller plays Miss Julie, an upper-class lady of the housewho puts the moves on chauffeur John during a rowdy celebration on the 1945 evening the Labor party took over the British government. Sienna Miller certainly has the looks and the star-power to play this difficult role, and she does have moments of greatness, but overall her performance is rather superficial and at times she struts around the stage as if she's posing for a photo shoot. As the chauffeur who eventually gives in to her advances, even though he's engaged to fellow servant Christine (the excellent Marin Ireland, who we saw recently in Reasons to be Pretty), Johnny Lee Miller is more convincing. He hits the right notes as a dedicated servant, quickly pulling on his jacket and jumping up when Miss Julie comes in the kitchen or when her father barks out an order over the house phone. When he is alone with Christine, we see his charming side and come to understand his belief that he could become a self-made man if he was just given the right circumstances.

As John gives in to Miss Julie's advances, of course, everything unravels. The scenes between the two as they struggle for the upper hand before heading off to the bedroom are powerful, and there is definite chemistry between the two. Although the first part of the play dragged a little, the last part got a little too melodramatic and key plot points got lost. When the curtain went down and the play was over, all the people in our first row of the mezannine looked at each other, a bit confused, in effect saying, "What the heck?!"

Sunday afternoon, we caught Bill Pulman and Julia Stiles in an excellent production of David Mamet's play Oleanna. The ninety minute play portrays three encounters between university professor John and student Carol. We are taken along on the ride as we see exactly what happens in each interchange, but then start to question what we saw as John and Carol come to have two wildly divergent opinions on what has actually occured. Is John simply trying to help out a struggling student or is he guilty of sexual harassment? At times, you pull for John--Pullman gives him a earnestness that makes you want to take his side, but he also seems rather cluelessness at times about the seriousness of the situation he finds himself in. Stiles is also great, and she makes us feel her frustration as a student who has made lots of sacrifices to get into an elite university and now finds herself in over her head. Just when we want to write her off as strident and delusional, we're pulled back to her side. The final scene is mesmerizing--you can't take your eyes off Pullman as John visibly fights to contain his fury, and then ultimately gives in to it.

This is one the CB's recommend highly!

Ragtime

The revival of the musical Ragtime opened in previews yesterday. Usually the CBs wait to see a show until it's been playing for a while but we took a gamble and saw the show at today's matinée. It is really a lovely show with some wonderful performances. The actor who played Coalhouse- Quentin Earl Darrington- was wonderful and so was the actress who played the mother- Christiane Noll. We were happy to see Bobby Steggert again. We loved him in 110 in the Shade and he is equally terrific in the musical. We only wish he sang more because he has a wonderful voice. If you like a big musical, in the style of Les Miz, make sure to catch this revival of Ragtime.

Hamlet

It's my turn to post (Leslie here) about seeing Hamlet last night. I'm going to keep it short, but sweet. I've studied Hamlet in college and graduate school, I've seen three productions on stage, and I've watched all the movie versions of the play. Watching the play last night was like seeing it for the first time--Jude Law is by far the best Hamlet I can ever hope to see. He inhabits the role and gives it a freshness and life that is completely illuminating. He puts everything he has into this production, and I feel privileged to have experienced it.

A Steady Rain

Thursday night we saw A Steady Rain with Hugh Jackman and Daniel Craig. The CultureBuddies were full of anticipation about seeing these mega-stars in the flesh but - within minutes of the curtain opening - they became just two Chicago cops with a story to tell. Their story is riveting with many twists and turns. Both of us barely took a breath during this highly intense acting master class.

The play takes place on a stage with two chairs under two interrogation type lights. There are some subtly shifting buildings in the background but all the action takes place in those two chairs.The play consists totally of dialogues and monologues by these amazing actors who convincingly play imperfect cops complete with perfect Chicago accents. They work together as a team incredibly well. Hugh plays a corrupt cop and Daniel is his alcoholic best friend and partner. As the story unfolds we see just how corrupt the one cop is and how the other cop- played by Daniel- has been tormented and belittled throughout his life by his partner. There are many twists and turns in this 90 minute, one act play but the actors deserve all the hype that this play has received. They both get a big 'CB Thank You' for coming to Broadway! It is the hardest ticket to get in town right now but we think this is a must see.

John Douglas Thompson - Remember that Name!!

If you are a regular reader of this blog, you may remember Leslie's rave reviews of the actor John Douglas Thompson's performances in Othello and A Dreamer Examines His Pillow which she saw in Lenox this summer. When we saw that Thompson would be appearing in The Emperor Jones at the Irish Repertory Theatre in Chelsea, we rushed to get tickets. We were lucky to get seats because the show- and especially Thompson's performance- received a rave review in the New York Times on Monday and many of the performances have already sold out.

When we went to get our tickets at the box office yesterday, we saw Douglas sitting in the theatre lobby eating his lunch. With a little coaxing, Leslie told him we came from NH to see his performance because of how great he was in the shows she saw in Lenox. He couldn't have been more gracious and encouraged us to stay after the show to speak to him again.

We were both totally entranced by this amazing show. The Emperor Jones was written in 1920 by Eugene O'Neill and this short, brutal play has rarely been performed. For years it was considering 'politically incorrect' because of its use of the 'N word" and the fact that Brutus Jones is a black convict who has ruled cruelly and stolen from his subjects on a small Caribbean island. Today this story of corruption and demented leadership is one we have seen over and over again in the news.

Jones breakdown while escaping with no food and only a few vestiges of power- his uniform, his pistol and a silver bullet is amazingly told. When Emperor Jones is racing through the jungle to avoid capture, he is forced to face his inner demons represented by a series of amazing puppets and masks. It is truly terrifying to watch the Emperor face his primal fears and slowly divests all remnants of his power. This is an incredible performance by an actor who we believe is on the precipice of stardom.

After the show, he greeted us as old friends. It was a truly amazing night for two theater lovers.

Bye Bye Birdie

Saw a matinee of the new production of Bye, Bye Birdie in the newly renovated Henry Miller's Theatre yesterday.

Highlights:

• The numbers that feature the young members of the cast: especially "A Lot of Livin' to Do," "Telephone Hour," and the lovely blend of voices in "One Boy"
• Nolan Funk in the role as Conrad Birdie
• The colorful, over the top 60's pop decor, costumes, and set
• John Stamos' charming and light-footed stage presence
• Full orchestra playing great classic, musical theatre standards
• The incredible physique of Gina Gershon, emphasized by a stunning wardrobe
• A very cute curtain-call number

Problems:

• Gina Gershon was off-key for the whole show
• The casting of the adult roles--No one stands out except Bill Irwin (who the CB's normally love!) and it wasn't in a good way. He had a very strange take on the role of Kim's father that was funny at first, but quickly became annoying.
• No chemistry between Stamos and Gershon
• Nothing, except the amount of money they put into it, that made lifted it beyond the level of a good community theater production

Superior Donuts

When I was in New York with Matt, I went to see Tracy Lett's new play, Superior Donuts, with my buddies Ben and Casey. Ann and her son, Adam, went to see it last night. Collectively, we all really enjoyed it . . .

This is certainly a kinder, gentler play than Lett's Pulitzer and Tony winning, August: Osage County, but it is no less powerful. The dialogue is crisp (nobody writes banter better than Letts), the cast (intact from a critically-acclaimed run at Steppenwolf in Chicago) is excellent, and the play somehow combines humor, conflict, hope, and violence. The main focus is the friendship that develops between Arthur (the great Michael McKean), an aging hippie who dodged the draft during the Vietnam War, and his new 21-year-old African-American employee, Franco Wicks (star-in-the-making Jon Michael Hill), who blows into Arthur's struggling Donut shop in Southside Chicago one morning and talks his way into a job. Hill is an amazing young performer--his Franco is busting with energy, ideas, quick-witted humor, and a vibrancy that contrasts with Arthur's emotional distance and McKean's understated, but nuanced, performance. McKean and Hill's have an easy presence together on stage and many of their exchanges are laugh out loud funny. As we slowly realize that Franco's bravado is hiding serious problems, however, the tone turns darker and there are several moments in the play that you can't help but gasp.

There are a few drawbacks to this production, including unecessary extended monologues and a badly choreographed on-stage fight scene, but overall the Culture Buddies highly recommend Superior Donuts!

More News From New York

Thanks to CB pal, Casey, Matt and I had a wonderful evening at the Metropolitan Opera House on Saturday night. Casey is working at the Met, and he was able to get us great orchestra center seats to see Bartlett Sher’s production of Rossini’s The Barber of Seville. Neither of us had ever been to the Met, and it is a truly spectacular venue in which to see an opera (or anything else for that matter!). The performance was wonderful--what a pleasure to see the best of the best in such an amazing setting. The performers were perfectly cast; not only did they have beautiful voices, but they also had great physicality and comic timing that brought out the light, fun tone of this opera perfectly. It was a great night!

Last night, after the weird events of the afternoon, I took in an Off-Broadway musical that has been getting a lot of buzz called The Toxic Avenger starring Diana DeGarmo of American Idol fame. It was campy, and silly, and a lot of fun . . . quite a contrast from the Met, but that's one of the great things about New York City!

The Royal Family Matinee Cancelled . . .

I'm in New York with my husband who is here for a business trade show, and we went to see The Royal Family yesterday afternoon. About 15 minutes into the play, Tony Roberts made his entrance looking absolutely fine, but speaking in a garbled voice. It was so perfectly timed that it seemed like an intentional gag . . . The rest of the cast on stage seemed bemused, like he was playing a joke, but Danny Glover suddenly dashed off stage and the curtain came down. There was an announcement that the show would resume in a couple of minutes, but it was clear that something was seriously wrong, and that most likely he had had a stroke.

About five minutes later, the house manager says, "Is there a doctor in the house? Actually, is there a neurologist in the house?" It was a sureal experience. The timing of his entrance and the stroke seems unbelievable. It became clear that the show was going to be cancelled, so we went to the box office to get a refund. As we were waiting, we actually saw the EMT's bringing Mr. Roberts out on a stretcher to the ambulance. He seemed conscious--at least his eyes were open. It was quite awful to see.

We went to get something to eat, and when we were walking back by the theatre I spotted Larry Pine, also from the play. In a truly Culture Buddy kind of way, my husband went up to him and said, "Excuse me, do you have any update on Tony's condition?" He said he didn't and told us it was a terrible moment when they realized what was going on. He hadn't made his entrance yet and was watching from backstage. He seemed pretty shook up--it must have been very difficult for the cast to perform the scheduled 7:00 performance that night with the understudy going on for Mr. Roberts. As of this morning, he is reported to be in stable condition.

This is the kind of theater first that I wish I hadn't experienced. More on my short trip to the city with my husband to come . . .

Sunday Cinema Club

Our Cinema Club started last week--we go to West Newton, MA on Sunday morning every couple of weeks throughout the fall to see movies that have not been released yet. The films are followed by a brief talk by one of two Boston film professors and open discussion. Last week we saw The Boys are Back, a movie based loosely on British political reporter Simon Carr's memoir recounting his attempts to rebuild his family after the death of his wife and directed by Scott Hick (Shine). Clive Owen's does a great job in the lead role--his performance is understated, but powerful as he stumbles through his first year of solo parenting. He adopts an attitude of "Just say yes" which drives all the women around him crazy, but seems to work for all male household. Owen's scenes with the two boys who play his sons are, I think, the strongest parts of the movie. The actor who plays the youngest son, Artie, is terrific. The CBs recommend give this film 4* (out of five).

Of course, one movie was not enough for the CB's. We grabbed some refreshments and headed into see Jane Campion's new film, Bright Star, a fictionalized version of the intensely romantic (yet chaste) love affair of Fannie Brawne, a woman of prospects and “good family,” and the poor, struggling poet John Keats. Fannie falls in love with Keats and with the beauty of his poetry, and she becomes determined that they will be together . . . unfortunately Keats has no money and few prospects. The Australian actress Abbie Cornish really shines as Fanny, an independent-minded woman weighed down by the conventions of proper Victorian society. The attention to period detail (especially the costumes) is great, and the setting is beautiful English countryside. The child actor who plays Fanny's young red-headed sister, like the young actor in The Boys are Back, is perfect for the part. The CB's also gave this movie 4*.

Summer Theatre in the Berkshires

With Ann laid up for most of the summer, I took in a theatre fix by heading to Lennox, MA for a long weekend in August. Only a couple of hours from Nashua, the Berkshires is the place to go for an incredible range of wonderful theatre options. Shakespeare & Company is almost like a small college campus with its three theatres, housing for actors, and an outdoor staging area. At any given time over the summer, there are at least six plays in reperatory. Most, but not all are Shakespeare. While I was there I saw two very different, but equally excellent, productions on the main stage (Founder's Theatre)--Twelfth Night and Othello. Twelfth Night was fast-moving, full of physical humor, and really fun to experience. No big stars--just accomplished actors doing what they do best . . .

Othello, starring John Douglas Thompson was a break-out hit last summer in Lennox and was recreated for the New World Theatre in New York last fall. Thompson reprised the role this summer, and I felt so privileged to be able to see him in this role. He is nothing short of amazing--the perfect Othello. Watching as Iago turns this Othello from a strong, eloquent, and comanding soldier and lover to a paranoid man consumed with doubt and jealousy was almost more than I could bear. I had to stop myself from standing up and yelling at him not to listen to that damn Iago!!

I was also lucky enough to see Thompson as part of a three person ensemble in a production of an early John Patrick Shanley (Doubt,

Moonstruck) play entitled A Dreamer Examines His Pillow at the smaller Jacob's Theatre. The play centers on a young couple who have a turbulent on-again, off-again relationship and the woman's father (played by Thompson) who has had his own share of troubles with intimate relationships. This production was 90 minutes of intensity and really showcased the three actors involved. It felt good to get that thrill of turning to the Arts section of the NYT and seeing a big article about Thompson playing the these two roles.

I also saw an unexpectedly good production of Ibsen's Ghosts at the Berkshire Theater Festival. Ghosts is Ibsen's response to all the criticism he received for A Doll's House and Nora's decision to leave her husband and children at the end of the play. In Ghosts, the central character,Helene

chooses to remain in a disastrous marriage on the advice of her priest. This choice condemned her to a life of covering up her husband's many vices and sending away her only son to grow up abroad. The action of the play takes up years later after the death of her husband and upon the return of her son (who, it is implied, has syphilis) and of her morally unbending priest. As you can imagine, all hell breaks loose . . . The play was well acted, the set was quite innovative, and the production was pretty terrific. Interestingly, I saw a production of A Streetcar Named Desire at the Barrington Stage Company that same night, and in the production notes, I read that Tennessee Williams decided to become a playwright after seeing a production of Ghosts as a young man. This was the weakest of the plays I saw while in the Berkshires, but it was still quite good.

Although I missed my CultureBuddy, I had a great, theater-filled weekend in the Berkshires, and I look forward to returning next summer (with Ann!).

LESLIE WON!!

Yeah!! I beat that damn Casey in the Tony's pool last night. I correctly predicted 25 out of 27 categories . . .Casey--22, Ann--19, and Ben--11. I am so proud of my big gold medal and plan to wear it on the bus ride home today. More later on our last day in NYC.

Grand Slam Homerun!!

We have been waiting for one of the oodles of plays we are seeing this week to blow our socks off. We have seen good plays, really good musicals, interesting revivals but nothing that ranked as a home run until today. We saw all three plays in The Norman Conquests trilogy, and they hit the ball out of the park. These are some of the funniest hours the CBs have ever spent in the theater. Ben Brantley said it best in his New York Times review: "These plays cripple you with laughter and more subversively fracture your soul."

We saw the plays in the order in which they were written. We saw Table Manners at 11:30, Living Together at 3:30 and Round and Round the Garden at 8:00. The plays take place over one weekend and involve the same 6 people - two married couples and one unattached couple. The plays are connected, showing the action from different times and places within and without the house during the weekend. Seven hours of theater in one day sounds exhausting, but this was an exhilarating experience and left us wanting more.

The main character is a hilariously, naughty Lothario named Norman who is played to perfection by Stephan Mangan. He manages to seduce all three women in the play at various times. The six actors are so hilarious that the CBs had stomach aches from laughing and - at times - were actually guffawing, as were the rest of the audience. Being at the theater with the same audience for all three plays and getting to know and understand the characters so well was a wonderfully communal experience.

Alan Ayckbourne wrote this series of plays in the 1973 (it feels like it was written last week, not 36 years ago!) and this revival transferred from the Old Vic in London with the great London cast intact. The director is the amazing Matthew Warchas who is directing God of Carnage a couple of blocks away and directed the hilarious Boeing Boeing last season. No one directs a farce better than he does. Although all six actors were wonderful, we especially enjoyed the performances of Amanda Root as the uptight Sarah, wife of the equally hilarious Reg played to perfection by Paul Ritter.

We urge you to rush to see these plays and recommend that you see all three in the same order that we did. You won't be disappointed. This is a chance to see this classic series of plays with a truly A level group of actors. If you are a theater lover, this is a not to missed experience.
Blythe Danner and Richard Kind saw all three plays with the CBs today!

Waiting for Godot

We had great tickets to see Waiting for Godot last night. Although the play itself is a little weird at times, we would wager that this is the best production of it you could ever hope to see. Nathan Lane and Bill Irwin (both Tony winners) play Vladimir and Estragon, two seemingly homeless men waiting near a tree on a barren stretch of road for someone—or something—named Godot. To pass the time, they engage in absurd conversations and comical wordplay and nonsense. Irwin and Lane play off each other brilliantly and make an unusually tender pair of wanderers--they sound like an old married couple repeating recycled stories and trying to remind each other what happened yesterday. They are also very funny--Lane goes for the laughs a bit too overtly at times, but their comedic timing definitely makes this an entertaining production. Irwin's performance is Tony worthy in the CB's humble opinion. Amazingly enough, he didn't even receive a nomination.

John Goodman (who is huge!) plays Pozzo, an "upperclass" bully and windbag who is attached by a rope to his subhuman slave, Lucky. John Glover plays Lucky, and his performance is pretty amazing--he brings out Lucky's madness, his stubborn determination to stick with Pozzo at all costs, his bursts of violence, and his vulnerability, all the time looking like a cross between a ghost and a man. These four actors are at the top of their game and bring this classic to life in a completely memorable way. We were glad to have seen it!
Once again Jeff Goldblum was in the audience with the same young lady as last night!

Exit the King

Last night we saw Eugene Ionesco's absurd comedy, Exit the King. A brilliant Geoffrey Rush plays 400-year-old King Berenger who is ruling over a once-thriving country that has fallen into complete decay. His kingdom has shrunk from a few million people down to a few thousand and from miles to yards; the few citizens and buildings left are falling into a giant hole. To make matters worse, Berenger's first wife, Queen Marguerite (Susan Sarandon) announces that he only has until the last minute of the play to live. Berenger refuses to die--he is determined to outwit death, to live forever. Of course, he's fooling himself.

You wouldn't think that watching someone die over the course of a couple hours would be entertaining, but this production is funny, irreverent, and totally wacky. The actors break the "fourth wall" often, speaking directly to the audience in a way that usually evokes laughter. At one point, Rush actually wanders up and down the aisles pleading for guidance from audience members. Comic relief is also provided by Andrea Martin as the sole overworked maid left in the castle, and Brian Hutchinson as a guard who clanks around in a suit of armour and consistently announces the most random pieces of information to whoever might be left in the kingdom to hear his updates. Their sense of timing and physical humor provide lots of laughs.

There are also plenty of moments of intimacy, of quietness, and of poignancy when we are reminded that the theme here is death and mortality. Somehow Rush manages to age right before our eyes--slowly his over-the-top persona shrinks into an infirm old man. The loving exchanges between Berenger and his new wife (Lauren Ambrose) add a sweetness to the production, and Susan Sarandon's bitchy, sarcastic delivery throughout most of the play sets up an effective contrast to the warm, gentle tone she has as she guides Berenger through the last stages of death.

This is not a crowd-pleasing play for everyone, but it was certainly a great night of theatre for the CultureBuddies. (By the way--Jeff Goldblum was sitting in front of us!)

If It's Good Enough for the Obamas . . .

We caught the matinee of Joe Turner's Come and Gone yesterday afternoon, the Lincoln Center Theater's revival of the second of August Wilson's cycle of plays tracing the 20th-century experiences of African-Americans. Director Bartlett Sher (South Pacific, Light in the Piazza) has done a remarkable job bringing Wilson's rich play to life and drawing out the best in an ensemble of incredibly talented actors.

Set in 1911, Joe Turner deals with the period immediately following the emancipation of slaves, as African-Americans struggled to find a place to call home. The play centers on a boarding house run by Seth (Ernie Hudson) and his kind-hearted wife, Bertha. Boarders drift in and out, paying by the week, looking for work and a place to sleep for awhile until they move on to the next place, the next job, the next relationship. The one long-time boarder is an older "conjure-man" named Bynum (played brilliantly by Roger Robinson, who is favored to win a Tony award on Sunday). Bynum peddles his services as a "binder" (an agent for bringing people together) and tells anyone who will listen that discovering, and embracing, "one's own song" is the step they must take before they can move on in life. Other boarders include the young and impetuous railroad worker Jeremy; the unlucky in love Matty C, man-eating Molly, and the intense and mysterious Herald Loomis and his young daughter, Zonia. Loomis and his daughter have been searching for his missing wife for four years. Rutherford Selig (Arllis Howard) the only white man in the ensemble, is a peddler who specializes in finding missing persons.

The easy, comfortable delivery of Wilson's dialogue, the sparks of humor, the fully drawn characters, and the sharing of food and stories around a large kitchen table infuse this production with a sense of community that is set against the struggle of these transcient African-Americans as they search for identity, for connection, for freedom, for roots, and for respect. They are no longer slaves, but they are only one step away from slavery and the world around them is still oppressive and racist. We both loved this play, and it's one that has provided lots of conversation between us. It was kind of cool to be there while the staff in the theatre was still buzzing about the Obama's visit last week . . . the CultureBuddies are nothing if not cutting edge!

West Side Story

We had to pay full price for the tickets to West Side Story (a rarity since we can almost always find a discount code for at least 40% off), but we felt this show would be worth it and we were right. Many things are terrific about this show--the dancers' crisp and precise execution of the original Jerome Robbins choreography, the incredible music accompanied by a huge Broadway orchestra, the colorful costumes of the 37 singers and dancers, and the innovative set design.
The two standouts in the show are the actresses who play Anita and Maria. Karen Olivo (the original Vanessa in In the Heights) is feisty and beautiful as Anita--she is fantastic in this part. Newcomer Josefina Scaglione is lovely as the young, innocent Maria, and she is in complete control of her crystal-clear, perfectly-pitched soprano voice. On top of that she is a natural actor and a wonderful dancer. It's no wonder that she was nominated for a Tony award.

We were both disappointed, however, in the performance of Matt Cavenaugh as Tony. Although he is handsome and has great chemistry with Maria, his voice is just not strong and rich enough for this role. We also found the male ensemble as a whole a little weak--it seems like the casting directors went for dancers, not for actors who could make their characters seem distinct or great singers. Great dancers they are, but something is missing; there is no edge to any of their performances. The show would have been richer if they had chosen dancers who were just as outstanding as actors and singers. The women really carry this show, and the performances of Karen Olivo and newcomer Josefina Scaglione, along with the chance to experience the incredible original choreography and the beautiful score of West Side Story make this a must see revival.

What a Way To Make a Living

We had one of those 'everything goes right' kind of days on Tuesday. We took an early bus to Boston expecting to have to wait an hour for the next bus to NYC, but a bus was waiting to leave for NYC less than 5 minutes after we got there. So we arrived in NYC early, and, of course, our room at the Hilton Garden Inn was ready hours early. We had a nice long lunch at Pigalles and were welcomed back to our favorite city by the nice host, Greg. We headed off to see 9 to 5 and , naturally, our discount seats were superb--in the center of the orchestra. Alan Alda and his wife sat in the row in front of us, and Morley Safer was across the aisle.

The show was pretty much just what you would expect from Dolly Parton--a silly, campy, over the top musical. But there were many aspects of this show that made it better than the average over the top musical made from a popular movie. Allison Janney was very good as Violet, the Lily Tomlin role. She has a commanding stage presence, and, although she doesn't have much of a voice, she has a couple of very nice dance numbers and does herself proud in her first musical. The other actresses who play the leads-- Megan Hilty as the Dolly character and Stephanie J. Block as the shy divorcee (both recently from Wicked) are capable musical comedy actresses, and Block has an amazing voice. The real standout for us was the great choreography by Andy Blankenbuehler. Every dance number is clever and noteworthy. They make moving desks and the watercooler into a dancing event! He is definitely one of the hottest choreographer on Broadway right now- fresh from doing fabulous work in the CB's favorite In the Heights.

The choreography and Allison Janney's performance make this is a worthwhile show to see, although it is pretty over the top . . .

Desire Under the Elms

Watching a Eugene O'Neill play is like experiencing a Greek tragedy, and the recent production of Desire Under the Elms on Broadway was no exception. We had to squeeze in an extra NYC trip before the Tony's to see it, as the production closed early and we had tickets for June.

The director had condensed the three-act play into one powerful act that grabbed you by the seat of the pants and didn't let go until you had witnessed the devastating affect of misguided passion and violence wreck havoc on the universal longing for a home of one's own and for unconditional love. Brian Denehy was excellent as Ephraim Cabot, the cold tyrant of a father/husband/and farm owner. Carla Gugino played Abbie, the third (much younger) wife Ephraim brings home to his three grown sons--she was in her role as a hard-as nails seductress and opportunist who loses herself in a passionate affair with Cabot's son, Eben (played by the hunky Pablo Schreiver). This was one worth seeing, and it's a shame that it closed ahead of schedule due to mixed reviews and poor ticket sales. The CBs are glad they made the effort to see it . . .

A Must See (If Unlikely) Musical

The only reason the CultureBuddies went to see Next To Normal is because it received 11 Tony nominations. A bipolar housewife seemed like such a grim topic for a musical. Well, it wasn’t five minutes into the show before we knew we were 100% wrong. This show is not any ordinary feel good musical, but as The New York Times described this show, it is a “feel everything” musical. Next To Normal is funny, smart and heartbreaking. The music is great, the performances are amazing, and the set is perfect for showcasing the movement of the play's themes. Whoever cast this show should get a special Tony for picking the perfect people for these roles. Alice Ripley is nothing short of fantastic as the mother. She is pitch-perfect in every scene, and she breaks your heart. What a role for this actress! Her husband is played by J. Robert Spencer and her two children are played by Jennifer Damiano and Aaron Tveit. We had seen Aaron Tveit in the musical Saved last year and put him on our ‘people to watch’ list. He is brilliant in the role and he has incredible charisma on stage.

Next to Normal brings the devastation mental illness can wreck on a whole family to life in a respectful, and incredibly powerful, way. Drugs are used and abused, treatments are experimented with and abandoned, children become invisible, and loving relationships are tested every single day. The music tells the story in such a compelling and effective way that you are on the ride with this family from the first minute of the play to the last. Along the way you experience heartbreak, humor, hope, and a great amount of empathy for every character.
This play left us with the kind of wonderful exhaustion we have felt at a few, select shows (Spring Awakening, In the Heights, Come Back Little Sheba, God of Carnage) over the last three years. We were exhausted and wrung out by the end (and Leslie had gone through four Keenex), but we were also exhilirated from such a great night of theatre.

Message to Alice Ripley: Wear your prettiest dress Sunday night because you may very well be accepting the Tony for Best Performance by a Leading Actress in a Musical. If we had a vote, you would get both of them!

A Great Show on PBS--Be Sure to Watch!

Great Performances on PBS is running a wonderful new documentary called 'In the Heights': Chasing Broadway Dreams. ITH was the winner of the 2008 Tony for Best Musical, and a show close to the hearts of the CBs. This is a well-made, heartwarming documentary of talented people working hard to make a dream come true. Lin Manuel Mirandos is very inspirational, and the glimpses into the lives of a few of the cast members are great. Make sure to see it!!

An Emergency Trip to Broadway

The CBs were surprised when it was announced that Desire Under the Elms was closing at the end of May- a full six weeks early. Surprised and irritated because our tickets were for early June, we decided that an emergency pre-Tony trip to Broadway was needed.. We started planning for a one night visit which quickly morphed into a three night, four show visit! We want to see as many nominated shows and performances as possible before The Tony’s on June 7th, and this short trip would let us squeeze a few more in before our longer trip in June.

So, last Tuesday night we went to see the historical drama, Mary Stuart. This play, a huge hit in London last year, was written in 1800 by Friederich Schiller. The timeless nature of political power games makes this play as relevant as Frost/Nixon was a couple of seasons ago. Stories of Elizabethan England and Henry VIII never get old! The play takes place after Mary has been imprisoned in England for years for plotting against Queen Elizabeth. The two queens (especially Mary) were raised in the public eye, so their gestures are grand and their speech is dramatic, making it a perfect story for the stage. Both women are well played by the British actresses Harriet Walter (as Elizabeth) and Tony winner Janet McTeer (as Mary). Mary is passionate and loud, while Elizabeth is controlled and crisp. One amazing scene revolves around a face-off between Mary, Queen of Scots, and Queen Elizabeth I. This meeting never actually occurred, but it makes for great theater as these two powerhouses jockey for power during a wonderfully simulated rainstorm. Mary is drenched, but the cooler Elizabeth stays dry under umbrellas held over her by her entourage.

The direction by Phyllida Lloyd (amazingly enough she also directed the movie Mama Mia!) is a bit unusual with the two queens wear period dress, but all the men wear contemporary grey suits. Leslie found this annoying and distracting, but it didn't bother me so much. The men do so much maneuvering and backroom theatrics that it seems like they are the Wall Street power brokers and political spin-meisters of today. The supporting cast is very strong with great performances from John Benjamin Hickey as the Earl of Leicester and Nicholas Woodeson as Lord Burleigh. Overall, a great production worth seeing . .

Tony Award Missteps

The nominations for the 2009 Tony Awards were announced last week and have left many – including the CultureBuddies - scratching their heads and wondering if they saw the same shows we did last year. While some of the nominees were obvious and made total sense- like the entire cast of God of Carnage getting nominations- some omissions were astounding. Didn’t the people who made these nominations see The Seagull last year? How could they have omitted Kristen Scott Thomas and Carrie Mulligan? What about All My Sons? Even if the nominators didn’t care for the director’s take on the play, surely Dianne Wiest , John Lithgow, and Patrick Wilson merited nominations. The total omission of Desire Under the Elms from every category was surprising especially after the reviews and may be the reason for it’s early closing announced this week. How could they have seriously nominated Constantine Maroulis for his performance in the juke box show Rock of Ages and omitted the male leads in West Side Story? What were those nominators thinking?

Leslie's Last Day in NYC . . .

Wednesday was a busy day that started with a visit to MOMA with my pal, Ben. We both really enjoyed the exhibit of Martin Kippenberger's work and had a nice morning as museum buddies.

I jumped on a bus to the Lincoln Center to see a matinee of a new musical, Happiness, in the smaller theatre downstairs from where South Pacific is playing. I found it to be an innovative, energetic, and heart-warming production. The setting is a subway car in NYC that turns out to be the "next step" after death for the nine people on board . . . each is given a chance to think of a perfect moment in their lives in order to relive it throughout eternity. I know it sounds kind of corny, but it was actually cool to see each person's moments relived on stage (with very innovative use of a central set and choreography), and to see what might happen to those who hadn't stopped long enough to make such moments in their lives. The music and the voices of each of the actors were perfectly suited to each situation. Hunter Foster was great as the "guide" to what came next, and he had a wonderful number that used every bit of the small stage, including a ladder held by several of the dancers. Sebastian Arcelus (Jersey Boys, Wicked), as a workaholic who rushes onto the subway car but isn't supposed to be there and Ana Maria Andricain (South Pacific, Beauty and the Beast), as a glamorous young woman who isn't what she appears to be, are also terrific--what beautiful voices! The reviews were mixed on this one, but I recommend it highly.

Wednesday night, I went to the full dress rehersal of Finian's Rainbow , an Encores production at the City Center. This 1947 musical has always been one of my favorites, and it is rarely revived, so I was thrilled to have a chance to see it. The plot is a little crazy--Irishman Finian McLonergan ( played by the wonderful Jim Norton, who we loved in The Seafarer), and his daughter travel to a small Southern town in the state of "Missitucky" with plans to bury a stolen pot of gold in the shadows of Fort Knox, believing that it will grow and multiply. A leprechaun (the cute and hilarious Jeremy Bobb), shows up determined to recover his treasure. Soon enough, the daughter falls in love with the most handsome local boy (played by Cheyenne Jackson, who's pretty damned handsome and has a gorgeous voice), and the racist local sherif is "wished" into a black man. I was so happy to see that the NYT gave the production a rave review, and it was recently announced that the production is Broadway-bound. My short trip to NYC ended with drinks with Casey, Matt, and Ben and an early bus ride home to get back to work on Thursday. Next up, Ann and I spend a week in June!!

Leslie's NY Trip--Day Two

On Tuesday, I took in a film at the Lincoln Plaza Theatre. Fados is a tribute to the Portuguese musical genre known as fado. There is no story here--and at first this made me a little impatient--but once I realized what was going on, I sat back and enjoyed what I was watching. I was totally unfamiliar with this genre of music--the driving force seems to be a mix of melancholy, dramatic scenarios, and emotional, poetic lyrics. The use of mirrors, lighting effects, semi-transparent screens, and vibrant colors frame each song and highlight each set of talented singers and dancers. By the end of "Fados" I was torn between enjoying the performances and thinking to myself that I wish it would end. I am glad I saw it, however, and if you're a fan of dance or music, you should check it out. For a taste of the movie, go to http://www.youtube.com/watch?v=XdOE5ERp-s4

After a much needed nap, I headed out to see a new play by Moises Kaufman, 33 Variations. Jane Fonda plays an American musicologist–a Beethoven specialist named Katherine–who decides to go ahead with a research trip to Bonn, Germany, even though she's just been diagnosed with Lou Gehrig's disease. The play doesn't wallow in Katherine's disease, thank goodness. Instead, it focuses on her obsession with unlocking the mystery of why Beethoven spent so many of his last years composing thirty-three variations of what most considered to be a very insignificant waltz by Anton Diabelli. Katherine's obsession and her insistance on staying in Bonn as her condition worsens creates added tension in an already complicated relationship with her daughter. Her daughter has struck up a romance with the nurse who's been caring for her mother (Colin Hanks), and both eventually made their way to Bonn. Scenes featuring Beethoven, his assistant, and Diabelli blend in with Katherine's story as it unfolds. On top of all this, there is also a pianist performing the Variations as they are discussed. A lot to pack into one play, but, for the most part, it works pretty well. Fonda (who looks great at 71!) is stronger in the second act as she begins to succumb to ALS. Grenier certainly looks the part, and he gives a great portrayal of Beethoven as a passionate and volitile genius. The set emphasizes the magnitude of Beethoven's work by filling the stage with sketchbooks, archival boxes, and sheet music. At times the script is touching and also very funny, but, in the end, it attempts to tell too many stories, taking away from the power of the central story of Katherine's transformation.

Leslie's NYC Trip--Day One

I was lucky enough to have another quick trip to NYC this week when I tagged along with my husband who was on a business trip. Although Ann was consumed with jealousy, I plunged ahead and saw four more plays! Most theatres are dark on Mondays, so I chose an Off-Broadway play that just opened called Rooms: A Rock Romance at New World Theatre. Although the plot of this two character play is pretty predictable, the excellent score (that ranges from cararet songs to punk rock to a crazy, wildly inappropriate bat mitzvah number) and the performances from the two talented actor/singers, Leslie Kritzer and Doug Kreeger, made for an entertaining evening.

The set-up is your basic "boy meets girl" scenario--Monica, who refers to herself as a "Scottish Jewish Princess" and a lyricist in search of a composer, meets a poor Catholic boy, Ian, who lives in his bedroom with his guitar and his booze. Before long, they've won a trip to London which leads to a recording contract as punk duo Lillian Filth and Perry Comatose. You can fill in the blanks after that, but the songs, the performances, and the kick-ass rock band on stage transform what could have felt tired and cliche into an original take on the inevitable love story of two opposites who attract. Leslie Kritzer is perfectly cast--she commands the stage with her great comic timing and her wonderful voice--and Doug Kreeger is just as good. I would recommend it highly ($25 tickets are available on broadwaybox.com!).

We Love Being Cutting Edge!

The CBs love to open the New York Times in the morning and see the Art section full of articles and reviews about plays we've seen. Last Monday was just such a day. Front page--great review of God of Carnage (the previous day had a long interview with Jeff Daniels and James Gandolfini. Next page--a blurb about the upcoming Encores production of Finian's Rainbow at the City Center that Leslie has tickets to when she goes to NYC with her husband. Following page--an article about Ruined. It's great to be a Culture Buddy!

Day Five - Sunday in the City

Leslie and I went our separate ways Sunday morning; Leslie to visit our favorite waiter, Jose, at Pigalle's and me- Ann- to visit my son, Adam, in the Bushwick section of Brooklyn. After a nice visit and a good breakfast, I raced back to Times Square in order to check out of our hotel and see the Sunday matinee of Becky Shaw at The Second Stage Theater on 43rd Street. Becky Shaw is written by Gina Gionfriddo, who writes for Law & Order, and largely focuses on a blind date between two mismatched people. The show is billed as a comedy gone bad, and we are left wondering who is the more toxic person on the date. We saw some familiar faces in this play; Annie Parisse from Law & Order plays Becky, the terrific Kelly Bishop plays the mother (she is also the grandmother on The Gilmore Girls), and the actor David Wilson Barnes who plays Max. Like God of Carnage the ground keeps shifting in this play and alliances keep changing. We both liked this play very much. Thw writing is crisp, and the actors were well cast. We raced to Port Authority and caught a Greyhound back to NH after five great days in our favorite place.

Saturday in the City

We saw two pretty amazing shows on Saturday. First up was the matinee of Impressionism starring Joan Allen and Jeremy Irons. Irons (one of Leslie's favorite actors!) plays a mysterious photojournalist who meets up with a gallery owner played by Joan Allen. Their stories are told through a series of flashbacks and the audience slowly understands why these people have trouble with intimacy. As their understanding of each other grows, love blossoms. The use of beautiful Impressionist paintings flashed on the curtain in between scenes gave it a lovely surreal feeling, and, of course, the two stars were wonderful. The play is a little clunky, but it was a thrill to see these stars.

Saturday night we saw Ruined in a small theater at the City Center. This new play by Lynn Nottage is getting quite the buzz, and its run has been extended twice. It is certainly a powerful, albeit emotionally exhausting, play. The setting is a brothel in the midst of war-torn Congo. Mama Nadi is the brothel/bar owner (her character is modeled after Mother Courage). As rebels and soldiers come in and out of the brothel, Mama Nadi tries not take sides. The concept that the soldiers and rebels are equally brutal and destructive is emphasized by the choice to have the same male leads playing both factions. The women of the Congo are caught in the crossfire, and, ironically, working at Mama Nadi's whorehouse is safer for them than being in their communities where they are targets for kidnapping and rape. The four actresses (including Phylicia Rashad's daughter in her NY debut) who play leads each give amazing performances. In the end, it becomes a story of human resilience and strength, and even love. Nottage previously won an Obie and, hopefully, will win more awards for this gripping and very moving play. Our friend Casey thinks Ruined may win the Pulitzer Prize this year.

Our favorite Boyz- Casey and Ben- met us for laughs and drinks after the show. Only one day left in the city and then the long bus ride back to our real lives!

Celebrity Sightings

Not too many sightings this trip--Jeremy Irons walking down the street, Howard Stern getting into a cab, Phoebe Cates at her new store, Blue Tree, on the East Side, Lauren Graham and Oliver Platt signing autographs after Guys and Dolls, Art Moore (Program Director of Live with Regis and Kelly) having lunch . . . hopefully more to come!

Day Three In NYC!

Nothing makes the CultureBuddies happier than a big Broadway musical with a full orchestra, great songs, a gorgeous set, and lots of dance numbers. Because there is nowhere on earth that you can see a show of this scope and size other than on Broadway, we were in CB heaven Friday night at Guys and Dolls. Has anyone ever written a better score than Fred Loesser did for this show? Just one amazing song after another. The numbers were wonderfully performed by Lauren Graham as Adelaide, Kate Jennings Grant as the Mission worker Sarah, and Sky Masterson adorably played by Craig Berko. Oliver Platt played Nathan Detroit, and he is definately the weakest link, but he held his own with all the singers and dancers. This show is just plain fun! The dance numbers alone make it worth the price of admission:
Luck Be a Lady Tonight was wonderful with every male in the cast involved in this great dance number which was beautifully choreographed. The other standout song and dance number was Titus Burgess' full blown Gospel rendition of Sit Down You're Rockin' the Boat. Lauren Graham is just adorable as Adelaide. It was a great night of musical theater.

Earlier in the day we travelled up to the Lincoln Plaza Cinema to see the Swedish film Everlasting Moments. A 2 1/2 hour film about a woman in the early 1900s locked in a marriage with her only outlet a camera. A long, lovely, very moving film which the CBs recommend.