PLAYTIME – Volume 1...All Plays – No Musicals!

PLAYTIME – Volume 1

All Plays – No Musicals!

A variety of plots, styles, and cities with New York, Chicago and London represented. Today's plays include the distaff version of an iconic Neil Simon comedy; one of the funniest plays I've seen about one man with two guvnors; a delicious slice of life play with a spectacular set; the trials and tribulations of an Upper West Side matron; a wildly successful London and New York hit that left both Bob and I underwhelmed; and finally, three plays by the estimable TimeLine Theatre of Chicago.

Let's get started.

THE ODD COUPLE – Shubert Theatre, Chicago

For whatever reason, I can't find my program, but this display ad from the Chicago Tribune serves well as the credits page.

from the Broadway Playbill.

from the Broadway Playbill. Look how young, and, frankly, hot Tony Shalhoub looks circa 1985. FYI: In the mid 90s, I had the honor of seeing Julie Wilson at the Algonquin. Not much voice remaining, but her elegance, presence, and her way with a lyric overcame any vocal limitations. A true cabaret legend.

November, 1984. Not even twenty years after its Broadway debut in 1965, Neil Simon's hugely popular comedy about two mismatched roommates was beginning to show some wear and tear around the edges. Reworked by author Neil Simon to accommodate a gender switch for all of its characters, this version, on the first stop of a lengthy tryout tour prior to Broadway, was entertaining enough, but also often lurched and fumbled about trying to get its laughs. The result wasn't a female The Odd Couple per se, but instead an awkwardly written piece that sat uncomfortably on its original source material. Heading up the cast were EGOT-winner Rita Moreno as Olive Madison, née Oscar Madison, the slob, looking chic and stylish even when she tried to look messy and not put together (I mean, after all, it is Rita Moreno!) and Sally Struthers, post All in the Family, as Florence Ungar, née Felix Ungar, the neatnik, looking kind of thrown together and more slob than neatnik. They worked hard and earned their laughs with professional aplomb. The card players, Marilyn Cooper, who arguably was the best thing in the Lauren Bacall-starring Woman of the Year, Jenny O'Hara, seen in 1971 in Promises, Promises, Mary Louise Wilson, who would go on to win a Tony for her memorable performance in Grey Gardens, and Kathleen Doyle, a Goodman graduate, were all fine in what I've always felt were tacked-on roles. In this edition, the Pigeon Sisters became the Costazuela Brothers from Barcelona in a malaprop-laden performance that teetered dangerously towards stereotype, but thanks to the endearing performances of Tony Shalhoub, in what would be his Broadway debut, and Lewis J. Stadlen, who decades later would underwhelm me as Max Bialystock in the tour of The Producers, it never crossed that line. I'm sure in 1984, this gender switch seemed like a great idea, even a groundbreaking one, but, unfortunately, the results just really didn't do anyone any favors, and it all sort of played out like a time-worn sitcom. – at the Shubert Theatre, Chicago

Sidebar:  I've mentioned before that I think Neil Simon's more dramatic works play better in the 21st century than his comedies, especially his early ones. Case in point: a few years back I went to a community theatre production of The Odd Couple. It was competently directed and had two good actors as its Oscar and Felix. And I didn't laugh once. Not once. And though the audience laughed more than I did, it wasn't the laugh fest I remembered from the touring production at the Blackstone in the late 60s or even the female version of 1984. You see, time had marched on since The Odd Couple first appeared, and the plot and characters now seemed, well, too 60s macho, a bit misogynistic, laden with stereotypical ideas of masculinity, and just not that funny anymore. But many comedies from the 60s and 70s, unless they're period pieces to begin with, don't play, or read, well today. I mean, who does Mary, Mary, a 1572-performance smash hit from 1961, today? Feel free to disagree with me.    

ONE MAN, TWO GUVNORS – The Music Box, New York

August, 2012. I'm not sure when Bob and I laughed so hard in the theatre. This hysterical romp is the funniest play since Noises Off graced the 1983 Broadway stage. I can't even begin to describe the plot, but basically it has our hero working for two employers, and he wants to keep them each from knowing he works for the other. Got that? Don't worry. It all made sense somehow. Richard Bean's script, based on Carlo Goldoni's 1746 commedia dell'arte The Servant of Two Masters, kept the laughs coming virtually non-stop, and kudos must go to everyone on the production team, headed by director Nicholas Hytner. In a cast of true zanies, Tom Edden as a geriatric, bumbling waiter nearly stole the show, but it was Tony-winning star James Corden who was so deliciously funny, irreverent, and lovable, that you knew you were in the presence of a comic master. Impeccable comic timing takes discipline and a fearlessness and Corden displayed both. Simply wonderful. We were weak from laughter when we left the theatre. We saw a Saturday matinee. I can't even begin to imagine how Corden and crew managed another performance that day. – at The Music Box, New York

GOOD PEOPLE – Friedman Theatre, New York

April, 2011. David Lindsay-Abaire, who wrote the exquisite Rabbit Hole, returned to the Friedman with Good People, a simply terrific slice-of-life play that was both hysterically funny and dramatically intense. At its most basic, it asks the question if anyone can truly leave their roots behind, even when they have physically left them behind, but it's much more than just that. There's no great plot twists and turns, but for character studies, it's a winner. The cast, including Becky Ann Baker, Patrick Carroll, Tate Donovan, future Hamilton Tony winner Renée Elise Goldsberry, and Estelle Parsons, was absolutely first-rate with nary a weak performance in sight, with a superb lead turn by Frances McDormand, in a performance that would net her a Tony in a couple of months. Directed with a keen eye for Lindsay-Abaire's rhythms by Daniel Sullivan, one of the stars of the show was the delicious scenic design by the invaluable John Lee Beatty. Eye-poppingly gorgeous! Intelligent, thoughtful theatre. And for the record, not that it especially matters, but Tate Donovan, looking kind of daddy-scruffy with a beard, was quite hot on the Friedman stage. – at the Samuel J. Friedman Theatre, New York

THE TALE OF THE ALLERGIST'S WIFE – Barrymore Theatre, New York

Valerie Harper replaced Linda Lavin and headed up the tour. Could not find snap with Lavin headlining.

April, 2001. Who would have thought that Charles Busch, the author of such wonderfully warped gems like Vampire Lesbians of Sodom, Psycho Beach Party, and Die! Mommy! Die!, could so completely switch gears and write a traditional, laugh-laden comedy that was slick, professional, and totally forgettable. This isn't a negative, necessarily. It's just that I couldn't tell you the plot an hour after the final curtain if my life depended upon it. Taking place on the Upper West Side, Linda Lavin played a successful doctor's wife, who's having a mid-life crises, exacerbated by the sudden and mysterious reappearance of a former BFF, with a nagging mother thrown in. Complications ensued, but, never fear, it all resolved itself rather tidily by the end of the second act. Linda Lavin, Tony Roberts, and Michele Lee as the wife, doctor, and BFF respectively, were all hugely enjoyable pros, each showing off impressive comic chops, with Lee adding a touch of sexy, cougar glamour. Shirl Bernheim's nagging mother was caustic and fun, and Anil Kumar did a nice job with the smallish role of the doorman. This was not great theatre, but it was a great way to spend a Saturday evening with terrific actors and a lot of laughs. – at the Barrymore Theatre, New York

THE 39 STEPS – Criterion Theatre, London

January, 2008. This was all the rage in London, won the Best New Comedy Olivier (London's equivalent of the Tony) and would go on to run nine years in the West End. A 2008 Broadway run ran close to 800 performances and racked up two design Tony Awards. Between you, me, and the lightpost, I'm not sure why. This 4-hand parody on Hitchcock's film seemed to delight the Criterion audience.  To its credit, it was done at a furious pace, which made for a brisk evening. Greatly appreciated. I think Colleen liked it; Bob and I were pretty bored. Perhaps not knowing the film this is parodying had something to do with our reaction. – at the Criterion Theatre, London

Crossing the Pond for three plays from Chicago's TimeLine Theatre.

BAKERSFIELD MIST – Stage 773, Chicago

August, 2016. Second preview. Often funny and often thoughtful, this Chicago premiere was given TimeLine Theatre's usual detailed and top-of-the-line treatment. Even at around 90 intermissionless minutes, the script could use a judicious trim of 5-10 minutes. At times it gets a bit bogged down both in plot and its unceasing attempt to be at all times clever and/or meaningful. The plot thrust of the possibility that a painting purchased at a thrift store could be an undiscovered Jackson Pollack, and the subsequent arrival of an art connoisseur who will determine whether the painting is a forgery or a genuine Pollack, is based on a true story, and, in  playwright Stephen Sachs' hands, often hugely entertaining. Janet Ulrich Brooks, as Maude, the painting's owner, gives her customary excellent performance, but her natural classiness works a bit against her. Her character could use a bit more earthiness. At 92, Mike Nussbaum is a marvel in a sly, subtle performance. Kudos to scenic designer Jeffrey D. Kmiec and properties designer Mary O'Dowd for their evocative set of a less-than-deluxe trailer. The practically full house was attentive and enthusiastic. Not perfect, but we enjoyed it. - at Stage 773, Chicago

IN THE NEXT ROOM OR THE VIBRATOR PLAY– Stage 773, Chicago

November, 2017. The star of TimeLine's production of Sarah Ruhl's In the Next Room, or the Vibrator Play were the absolutely sensational costumes by Alison Siple. No less sensational were the superb set and lights by Sarah JHP Watkins and Brandon Wardell, respectively. Less successful was the play itself in which playwright Ruhl couldn't decide what she wanted the play to be. Is it a comedy? Is it a satire? Is it a drama? Very funny in parts, sometimes bordering on farce, but then abruptly switching gears to be sort of serious and then very serious, I found myself getting seriously bored by the middle of the second act, even began looking up at the lights, never a good sign. The acting was, for the most part, fine, but the direction was plodding and one-note and pretty much muted the performances. The play was long to begin with; the pacing made it longer. Not one of TimeLine's better productions. - at Stage 773, Chicago

BOY – TimeLine Theatre, Chicago

January, 2018. Preview. TimeLine Theatre's production of Anna Ziegler' s Boy is thought-provoking and well-worth seeing. But, this 90-minute intermissionless play about gender identity suffered from a case of trying to do too much in too short a period of time, which meant we heard about a lot of things rather than seeing them. The real-life case which is the basis for the play was an unhappy affair, filled with sexual and emotional abuse; this is the happy talk version with everything rather neatly wrapping up at the end. Don't get me wrong; I enjoyed it, but I wasn't invested in it. In its off-Broadway world premiere in 2016, Bobby Steggert, an actor of incredible versatility, played Adam. Here Theo Germaine played the role and did a nice job with it, but, like the play itself, the performance seemed a little too neat, not truthfully messy enough. Overall, performances were solid, if one-noteish, and will likely get better as time progresses. At this point, the top performance is Stef Tovar's father, which had a range of emotion and depth missing in the other performances. Personal caveat...I'm getting weary of alley staging, but that's just me. And, Wardrobe, please ensure costumes are properly pressed. I really, truly wanted to love it, but, while I admired the production, I didn't especially like it. Still and all, bravo to TimeLine for producing this flawed, but important, play. - at TimeLine Theatre, Chicago

And that wraps up another post. Until later….

© 2018 Jeffrey Geddes

ALPHABET SOUP (5) - A RANDOM LETTER OF THE ALPHABET AND FIVE RANDOM SHOWS!

ALPHABET SOUP (5) -

A RANDOM LETTER OF THE ALPHABET AND FIVE RANDOM SHOWS!

To start off 2015, let's shake things up again, draw a letter from my blue London coffee mug and pick the first five shows from that letter's pile of programs.

And the first letter of 2015 is ….

R

And away we go!

R.S.V.P. BROADWAY – Winter Garden Theatre, Toronto

March, 1997. I rather enjoyed this musical spoof of 1930s New York. With a book and lyrics by Barbara D'Amato and Tony D'Amato and music by Tony D'Amato, this puff pastry of a show sported a ridiculous plot involving a gangster (character name Burns Rubenstein), a Broadway leading man (character name Noel Starr), a naïve girl who wants to be a Broadway star (character name Betty Bounce) and other characters that I frankly can't remember (one of the character names was, wait for it, T. Terrance Terrance and no, I'm not making any of these up!), a pleasant 1930s-flavored score that was so forgettable that you couldn't hum a bar past that number's applause, a spiffy Art Deco set, a lively orchestra, fun costumes, and a talented cast headed by Dirk Lumbard and Jean Louisa Kelly, neither of whom include the show in their resumes and/or Wikipedia articles. The audience was sparse at the performance we attended. Plans to take the show to New York were aborted when the show closed prematurely during its Toronto engagement after receiving negative reviews and poor box office. A video clip on Vimeo is almost painful to watch. Having said all that, however, in performance it was fun, funny,  and well-done. Not Broadway caliber by any standard, but enjoyable nevertheless. I'm surprised it hasn't become a community theatre staple.

Sidebar: The true star of the day wasn't what was onstage, but the theatre itself. Built in 1913 as a double-decker theatre, the Winter Garden is built on top of its downstairs neighbor, the Elgin Theatre. We have toured this marvelous place twice and will likely do it again next time we're in Toronto. We both love theatres…their rich histories and individual personalities, and, yes, theatres have personalities.

THE RITZ – Longacre Theatre, New York

Don't these ticket prices want to make you cry? $10.00 full price? Sigh!

Note F. Murray Abraham's elevated billing. 

June, 1975. When The Ritz opened in 1975, its setting in a gay New York City bathhouse was daring and I'll bet a lot of people went to the show thinking they would get the goods on all the tasty and illicit goings-on that happened in a gay New York City bathhouse. If that was the impetus, those folks left the Longacre very disappointed. Granted, there was plenty of towels and half-naked men, including future Oscar-winner F. Murray Abraham and future TV and film star and admitted sexual deviant Stephen Collins (back when he was smoking hot), and granted there was lots of gay double-entendre, wink-wink humor, but in reality it was all rather innocent and PG-rated, even for 1975. This play helped establish Terrence McNally as a playwright to be reckoned with but, like a lot of early McNally, is an uneven work. Directed by Robert Drivas, designed by Lawrence King, Michael H. Yeargan and Martin Aronstein and starring a magnificently hysterical Rita Moreno, in a Tony-winning performance, Jack Weston, Jerry Stiller, the aforementioned Abraham and Collins, Ruth Jaroslow and George Dzundza, the play was a laugh-filled romp that mostly glided over the flat spots and gave its audiences a grand old time. Moreno's "performance" in the bathhouse's cabaret room remains one the funniest scenes I have ever seen onstage. Absolute scenery chewing at its finest.

Sidebar: My seat location was in the third row on the aisle for this June Sunday matinee performance. During Moreno's cabaret scene, I was laughing so hard and for so long that Moreno actually came downstage, pointed to me and simply said, "You…in the third row," and then gave me a Googie Gomez glare, which, of course, only made me, and the rest of the audience, break down in laughter again. Perfectly in character and such fun.

October, 1975. Stubby Kaye and Mike Kellin, replacing Messrs. Weston and Stiller, respectively, were now above-title billed with Moreno. F. Murray Abraham's billing went from "with (in alphabetical order)" to "Also starring" and a font the same size as McNally's. Stubby Kaye's distinctive talents brought a different perspective to the role of Gaetano Proclo, the guy running from the mob who hides out at The Ritz. A bit more of an overt comic, it was played broader, and though an excellent performance, I rather missed Weston's cluelessness. The performance now played by an almost entirely new cast of principals, with the exceptions of Moreno, Abraham, Christopher J. Brown and Larry Gilman, was as funny and delightful as the first time I saw it. Great fun, now very, very dated.

Sidebar: A product of a pre-AIDS time, The Ritz has not aged well. A 2007 revival by Roundabout Theatre was not especially successful and the 1976 movie was pretty awful, even with Rita Moreno, Jack Weston and F. Murray Abraham recreating their original roles. I'd like to say that with the right cast, the right venue and the right director, it could be a successful period piece, but, although I am very fond of the show, it's just not that strong of a script. Happily McNally has gone on to much better plays. Fun factoid: producer Adela Holzer was sent to prison not once, but twice. Once for swindling theatre producers and another time for a scam involving immigrants. Gotta love it!

ROMANTIC COMEDY – Barrymore Theatre, New York

February, 1980. Poor Bernard Slade. His Broadway debut, Same Time, Next Year, was a multi-year smash, toured extensively, and, for a time at least, was a regional/community theatre favorite. His subsequent Broadway efforts were less successful, with his final entry, barely seven years after his debut, closing on opening night. Romantic Comedy was the most successful of the post Same Time, Next Year plays and ran just shy of one year. I remember this as being a funny and enjoyable evening, if not exactly memorable, smartly designed and capably directed and featuring a supporting cast that included the wonderful Carole Cook, Holly Palance (daughter of Jack), Deborah May and Greg Mullavey (of Mary Hartman, Mary Hartman fame). Anthony Perkins and Mia Farrow were the above-title stars and delivered the comic and star-wattage goods. The show may be best remembered for Anthony Perkins' full nudity in the first scene as he greets Mia Farrow. It's never been reported what Ms. Farrow thought of Mr. Perkins' junk, but his backside, which was the only side we in the audience saw, was agreeable enough, not perky, mind you, but perfectly acceptable. The joke line that accompanied Ms. Farrow's entrance got the evening off to a laugh-filled start. A moderate success that closed shortly after Perkins and Farrow left the show, this is a comedy that time, or at least Samuel French licensing agreements, has forgotten.

RABBIT HOLE- Biltmore Theatre (MTC), New York

 

April, 2006. Final performance. I was very surprised to discover that the critical community did not universally embrace David Lindsay-Abaire's stunning play, Rabbit Hole. Some even compared it to a movie-of-the-week and a sappy one at that. In my opinion, nothing could be further from the truth. Lindsay-Abaire's 2007 Pulitzer Prize-winning examination of grief and how one heals emotionally after a devastating loss, in this case the accidental death of a young child, certainly tugged unabashedly at the heartstrings, but did so with truth, subtlety and humor. It resonated with me, remembering the journey my parents sadly had to take after the sudden death of my older brother at age 42 after he suffered an aneurysm and the difficult emotional upheaval I faced only five years later when Steve died at age 43 from AIDS. From a stunning physical production (scenic design by John Lee Beatty, costume design by Jennifer von Mayrhauser and lighting design by Christopher Akerlind) to Daniel Sullivan's sensitive direction to the powerful ensemble acting by Cynthia Harris, Tyne Daly, John Slattery, Mary Catherine Garrison and John Gallagher, Jr., this was moving and unforgettable theatre. You knew these people; you knew their quirks; you believed in their pain and sorrow. If I had to pick only one scene, it would be the bedroom scene between Cynthia Nixon and Tyne Daly. To witness the connection between these two outstanding actors was a privilege, but then, watching this wonderful play was a privilege.

RAISIN – 46th Street Theatre, New York (1974); Shubert Theatre, Chicago (1976)

June, 1974. Raisin, the musical version of Lorraine Hansberry's sensational A Raisin in the Sun, a favorite of mine (I taught the play during my teaching internship, a prelude of sorts to actual student teaching) and without question one of the truly great American plays of the 20th century, was at its best when it stayed true to its roots and kept the action in the Younger household. When the musical tried to expand and "open up," it was less successful. At the time I saw the show, it was still enjoying the rewards of its Tony win as best musical of 1974 and the audience responded warmly, even affectionately, to the show. The glue of both the play and the musical was, and is, Lena Younger, the matriarch of the Younger clan, played with quiet dignity and an elegant simplicity by Virginia Capers, in a Tony Award-winning performance. Her performance alone was reason enough to see the show. The rest of featured cast, including Herb Downer, substituting for Joe Morton, Ernestine Jackson, Deborah (Debbie) Allen, Ralph Carter, Helen Martin, and Ted Ross, all contributed solid, professional performances. Where the show disappointed was in the score, which soared only in Ms. Capers' two solo numbers and otherwise was eminently forgettable. Enlarging the show to include ensemble and dance numbers didn't add much, if anything, to the show and added time to an already long show. I know this may sound as though I didn't care much for it, but in fact, I enjoyed it quite a lot, but, in large measure that was due to my love of the source material, Ms. Capers outstanding performance as Lena Younger, and Ms. Jackson's warm loving Ruth. Curiously, even though A Raisin in the Sun, has had two starry and hugely profitable limited-run revivals in 2004 and 2014, Raisin has pretty much faded from view. Perhaps in the case of A Raisin in the Sun/Raisin, less truly is more.

Sidebar: Even though Raisin won the Tony as Best Musical at the 1974 Tony Awards, it was more of a win-by-default, being the strongest of a relatively weak season for original musicals. For the record, I would have given Over Here! the trophy, but, while lots of fun, wasn't an especially strong show, either. Raisin was one of a handful of Tony-winning shows that never, well, caught on. It enjoyed solid, even sold-out, business at the start of its run, but then quickly ran out of audiences and, despite a run of over two years, closed at a loss. At its opening, it received everything from a rave to an outright pan, a spectrum of extremes not often encountered. Clive Barnes loved practically everything about it, while over at Women's Wear Daily, esteemed critic Martin Gottfried pretty much hated everything presented onstage at the 46th Street Theatre.

**********

A true prize! An intact ticket from the Shubert Theatre. While computerized systems and the Internet have made ticketing efficient and instantaneous, I still miss the days when you walked up to the box office (or, wait for it, mail order....pick three dates, include check or money order and a stamped self-addressed envelope. You had your tickets within days.) and watched as the box office treasurer skillfully picked out the best available tickets from the racks behind him/her. Have no idea how this escaped being torn by the ushers when we entered.

April, 1976. By the time the First National Tour of Raisin played Chicago, Tony-winner Virginia Capers had been elevated to above-title billing and in the Playbill, producer Robert Nemiroff made sure everyone knew of Ms. Capers' deserved win by billing her as 'Tony Award "Best Actress" VIRGINIA CAPERS.' Not particularly classy, but… I enjoyed the show in New York; I hated the show in Chicago. It was one of those evenings that occasionally occur in the theatre where due to any number of related or unrelated events, a performance is just plain bad. One of the factors, which was more of a sidebar than a factor, was my seat location in the second to last row of the Shubert's very steep second balcony, the only seats available, which was like watching the show from the fifth or sixth floor. If memory serves, the show went up very late, as in twenty minutes or so, with no explanation from management. (Note to theatre managers: very late curtains produce very feisty audiences. Make up something if you have to, but keep your audience informed.) The show, which is relatively intimate, seemed lost in the Shubert. The cast, though talented and capable, lacked energy and seemed to be marking time. Worst of all, though, was Virginia Capers' performance. Oh, on the surface she was doing everything right and then some, but you could tell her heart wasn't in it, as though after well over two years of playing Lena Younger, she was just over it. Perhaps they had had a bad week. Perhaps the late curtain threw everyone off their game. Perhaps they hated being in Chicago. Whatever the case, my friends were hating every minute and since watching a desultory performance from a crappy seat wasn't anyone's idea of a good time, we, along with quite a few fellow folks in the second balcony, bolted at the interval. We went to the Bistro instead.

That's it for now. Stay warm. More later.

© 2015 Jeffrey Geddes