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Thursday, January 23, 2020

My Name is Lucy Barton (Manhattan Theatre Club)

By Harry Forbes

Laura Linney won unanimous acclaim for her performance in this stage adaptation of Elizabeth Strout's best-selling book when she performed it at London's Bridge Theatre in 2018, and she’s now justly earning the same kudos for reprising the role on Broadway.

The titular Lucy -- who left her Amgash, Illinois home for New York years before to pursue a career as a writer -- lies in a hospital room fighting a serious infection after an appendix operation. Much to Lucy’s surprise, she awakens one day to discover her estranged mother has traveled all the way there to look over her. Lucy marvels at the bravery of the insular woman making her way there on her own. Her mother ends up staying for five days before departing as abruptly as she came, a pattern that will be poignantly echoed later in the play.

The mother, a plain speaking farm woman, warms Lucy with her presence, but it's clear that she had been an emotionally distant parent. And the father, suffering from PTSD, was even worse. We learn that Lucy and her siblings endured lonely childhoods, with beatings and other punishments part of their life. Lucy, for instance, had to endure being locked in her father’s truck for hours on end, once, traumatically, with a snake. 

As this is a one-person show, Linney plays both Lucy and her mother. Her portrayal of the mother is finally characterized. One starts to feel two people are on stage, as the mother regales her with homespun stories of what the neighbors, like one Kathy Nicely, are up to. 

We do hear of the other people in Lucy’s life, including a particularly empathetic elderly neighbor named Jerry. Lucy's husband is significantly absent at the hospital, but Lucy gets great comfort from a kindly Jewish doctor who faithfully checks on her even on his days off. She keeps in touch with her two young daughters by phone. But the loneliness underneath her upbeat optimism is beautifully conveyed.

Luke Halls’ projection design is outstanding as it shows us everything from the gleaming Chrysler building outside Lucy's hospital room to the aforementioned truck to the green fields of Illinois. Bob Crowley’s spare hospital room set, lighted by Peter Mumford -- Lucy’s bed, a visitor chair, and the window -- are pretty much all but nothing more is really needed. Audience members sit on either side of the stage, as presumably was the case in London. 

Richard Eyre directs with an assured sense of drama, understated though it may be. There’s little in the way of conventional plot, but the narrative is emotionally rich. 

It seems to me that the novel - which I've not read - has been astutely adapted for the stage by Rona Munro. Even with its first-person narrative structure, the play registers as vital drama, and never feels like an audiobook. 

Its 90 intermission-less minutes fly by, and Linney -- in perhaps her most iconic role since she make such a splash as Mary Ann Singleton in “Tales of the City” back in the early 1980’s -- is rewarded with a well-earned standing ovation. 

(Manhattan Theatre Club at The Samuel J. Friedman Theatre, 261 West 47th Street; or 212-239-6200)

Photo by Matthew Murphy

Monday, January 13, 2020

Jagged Little Pill (Broadhurst Theatre)

By Harry Forbes

Though I must confess I had zero familiarity with Canadian singer-songwriter Alanis Morissette’s lauded 1995 album from which many of the songs in the new musical derive, it still seems to me that “Jagged Little Pill”  is head and shoulders above most jukebox musicals. 

That’s because the songs (music co-written with Glen Ballard with additional music by Michael Farrell and Guy Sigsworth) are woven into an uncommonly absorbing narrative fashioned by Diablo Cody, the Oscar-winning screenwriter of "Juno." The story she’s fashioned to fit the songs concerns a well-to-do Connecticut family with a heavy dose of dysfunction. As many of my colleagues have pointed out, there are more issues here than you can shake a stick at -- opiod addiction, rape, online bullying, racism, and much much more -- but even so, I never found any of that excessive, so skillfully does the story unfold.

The show has come to Broadway after a successful run at the American Repertory Theater in Cambridge, Massachusetts.

Not being familiar with the album, the songs had no prior associations, and frankly, I found most of the lyrics nearly incomprehensible -- a complaint echoed by several at my performance -- but even so, the general mood of each number was clear enough. If a character was, say, expressing anger or loneliness, those emotions were powerfully conveyed. Perhaps the audibility issues are a result of Jonathan Deans’ sound design (well balanced in the dialogue though) or perhaps it's just the nature of the louder ensemble numbers. 

The talent on view is exemplary. Mary Jane Healy (Elizabeth Stanley surpassing all her previous excellent work) is the overreaching mother who has high expectations for her son Nick (Derek Klena) who has just gotten into Harvard (as she just knew he would), leading the boy to feel valued more for his achievements than himself. A car accident has left her hopelessly addicted to painkillers, a fact she conceals from her family, along with another secret potentially even more explosive.

Frankie (Celia Rose Gooding, talented daughter of LaChanze) is the adopted black daughter, a tireless activist for all causes who is secretly involved in a lesbian relationship with her friend Jo (Lauren Patten) until, that is, she meets the cute Phoenix (Antonio Cipriano) at a party. Businessman husband Steve (Sean Allan Krill) is a workaholic, and neglects the disinterested Mary Jane (aka MJ) for internet porn. When outsider girl Bella (Kathryn Gallagher) is raped at a party by Nick’s callous friend Andrew (Logan Hart), we learn that all is even less ideal than MJ’s Christmas letter, which opens the show, would suggest. 

With all of the high drama, there are lighter moments and humor in the mix.

The songs (some from the “Jagged Little Pill” album along with other Morissette material, old and new) -- and effectively orchestrated by Tom Kitt -- are superlatively performed. But it is Jo’s angry outburst “You Oughta Know” that emerges as the big showstopper and actually stopped the show with a partial standing ovation at the reviewed performance. But other numbers, sonically muddy or not, make an impression such as “Ironic,” which spins from Frankie’s creative writing class; Bella’s “Predator”; Nick’s “Perfect”; Steve’s “So Unsexy”; and Mary Jane’s “Uninvited.” 

Even if the show were devoid of songs altogether, Cody’s book would, I think, make a solid theatrical evening. Director Diane Paulus has worked her usual wizardry to make a cohesive and satisfying evening. Sidi Larbi Cherkaoui provides the lively choreography.

Riccardo Hern├índez’s flashy scenic design, Emily Rebholz’s funky costumes, and Justin Townsend’s astute lighting are top-flight.

(Broadhurst Theatre, 235 West 44 Street; or 212-239-6200) 

Photo by Matthew Murphy: Celia Rose Gooding and Lauren Patten

Tuesday, January 7, 2020

The Inheritance (Ethel Barrymore Theatre)

By Harry Forbes

The London phenomenon which wowed them at the Young Vic before transferring to the West End has come to Broadway with five of the principals from the London cast. 

Matthew Lopez’s two-part, nearly seven hour drama -- a present day riff on E.M. Forster’s 1910 novel “Howard’s End” -- centering around  a group of gay men in upper West Side Manhattan is riveting from start to finish. Though comparisons to Tony Kushner’s “Angels in America” are inevitable, and “The Inheritance” shares with its predecessor thematic similarities such as the devastation of AIDS, and the same marathon length, the Lopez play is unique.

The story focuses on Eric (Kyle Soller), a lawyer in a spacious, rent controlled apartment and his lover Toby (Andrew Burnap), a novelist and budding playwright whose play is about to receive a Broadway production. A privileged young man named Adam (Samuel H. Levine) comes into their circle, and audaciously suggests that he might be right for the lead role in the play. Skeptical Toby arranges an audition, and Adam lands the part. Before long, Toby is smitten with him, and when he learns that Eric is about to be evicted from their apartment, he callously calls off their impending marriage.

The shattered Eric subsequently befriends Walter (Paul Hilton), an elderly neighbor who tells of how he took in AIDS patients to the upstate house he shared with his life partner Henry (John Benjamin Hickey), a wealthy Republican real estate executive, much to the latter’s disdain, as Henry had wanted the house to be a refuge from all the death resulting from the AIDS scourge of the 1980s. Before his death, the ailing Walter leaves a scribbled note saying he wants Eric, in whom he discerns a kindred spirit, to have the house, but after his passing, Henry and his two grown sons choose to ignore Walter’s wishes. (That, it seems to me, is the most overt parallel to the Forster plot.)

Nonetheless, Henry develops a warm if platonic friendship with Eric. Complications arise.

The title refers not only to the property willed by Walter, but also to AIDS, and, more generally, what one generation passes to the next, be it illness or guilt. 

The cast is extraordinary. I had read the script a few months earlier, and while I found the plot compulsively absorbing, I couldn’t quite see the characters in my mind's eye as they are not overtly described in the text. But the cast brings them vividly to life. Hilton doubles as the very humane spirit of Forster exorting the men to be true to themselves, even as the men chide him for not publishing his gay novel, “Maurice,” in his lifetime, though not mentioning that homosexual acts were then still criminal.  Levine also doubles as the pitiable hustler Leo who bears an uncanny resemblance to Adam. 

Lois Smith plays Margaret, the sole woman’s part (Vanessa Redgrave in London), and she’s accomplished as ever as the mother who had been estranged from the son who died of age decades before. Her marathon second act monologue is expertly delivered. 

Bob Crowley’s set -- a simple raised platform around which the ensemble  observe and sometimes comment on the central action -- works beautifully, and the disputed property when Eric (and we) finally see it is beautifully realized. Jon Clark’s lighting, Paul Arditti and Christopher Reid’s sound design, and Paul Englishby’s music contribute mightily to the overall classy presentation. 

Stephen Daldry has done his usual masterful job directing the proceedings, and the first play ends with a particularly outstanding bit of staging that doesn’t leave a dry eye in the house. 

(Ethel Barrymore Theatre, 243 West 47th Street; or 212-239-6200)