Broadway Monday

Oleanna

A female student charges her male professor with sexual exploitation in David Mamet's drama, which examines explosive contemporary issues — the assumption of power, intellectual freedom and sexual politics. The battle for power and control begins, but does not end on stage.

Inspired by the Clarence Thomas hearings of September 1991, playwright David Mamet presented Oleanna at the feet of the theatre community in May 1992. It is widely seen as a direct response to the hearings and the controversy and countrywide dialogue that ensued.

The play is also well known for making the audience squirm in their seats with discomfort over a touchy subject, yet leave them engaged in deep discussion at curtains end. In this regard, Oleanna reminds me of John Patrick Shanley's Doubt. No matter what side you choose, there are equally as powerful arguments for the other point of view and the debaters are swayed toward the other with each word. The official website even says, "Whatever side you take, you're wrong."

In other words: WARNING! Passionate discussions ahead!

The best plays leave you discussing the mechanics while strolling back to your room or home. Brilliant.

Bill Pullman and Julia Stiles have been tapped as the cast for the debut, and look to be handling it well according to the reviews.

Oleanna will make it's Broadway debut this year after playing Off-Broadway since it's inception.

Previews begin September 29, 2009 at John Golden Theatre with an Opening Night of October 11, 2009. The play is currently running open-ended.

Broadway Monday

The Retributionists

Spring 1946. The plan was simple--a German for every Jew. Its execution would be swift, clean, its impact undeniable. A band of young Jewish freedom fighters attempts to avenge a society's wrongs--if only they can keep from tearing each other apart in the process.

This romantic thriller is based on real events detailed in the memoir Revenge: A Story of Hope by Laura Blumenfeld who writes her story of searching for the man who shot her father. Along the way she learned of the various ways cultures embrace and execute revenge.

The observations found in the book are what propelled this play. Writer Daniel Goldfarb says "It's a cautionary tale. "What I'm interested in exploring is what revenge does to a society."

Interesting concept that yields a lesson applicable in everyday life. The Retributionists is currently in previews at Playwrights Horizons/Mainstage Theatre and will run September 14-27. Tony Award winner for Next to Normal, Tom Kitt penned the music for this production.

Broadway Monday

The Bacchae

Dionysus is a young god, angry that his mortal family has denied him a place of honor as a deity. His mother was a mistress of Zeus, and while pregnant she was killed because she looked upon Zeus in his divine form. Much of the family refuses to believe that Dionysus is the son of Zeus, and the young god is spurned in his home.

He has traveled the world over gathering a cult of female worshippers, The Bacchae.

As the play begins Dionysus has returned to his home disguised as a stranger, ready to take revenge on his family. He has driven the women of Thebes into an ecstatic frenzy, much to the horror of their families. Complicating matters, his cousin, King Pentheus, has declared a ban on the worship of Dionysus throughout Thebes.

This Greek tragedy is based on the mythological story of King Pentheus of Thebes and his mother Agavë, and their punishment by the god Dionysus for refusing to worship him. It is the classic story about what happens when a government attempts to outlaw desire.

Euripides' tragedy marks the fourth time a Greek work has been presented by The Public Theater's Shakespeare in the Park, following Electra (1964), Agamemnon (1977) and Medea (1986).
Performances of Shakespeare in the Park are Tuesday-Sunday at 8 PM at the beautiful Delacorte Theatre in Central Park.

Before I could get this up for today, the show announced it's closing for August 30th. Performances ran August 24th through the 30th not including previews. I hope you were lucky enough to have scored tickets!

Broadway Monday

Good Morning Everyone!
I am fresh off a plane and honestly have not had time to write today's Broadway Monday because I was too busy living Broadway Thursday-Sunday!
For those of you worried if the Great White Way is doing okay during this oppressively hot summer of economic recession the answer is YES! The streets and theatres were packed and patrons were having a great time! New York City is definitely doing it's part to help us all recover!
Broadway Monday will be back next week!
Thanks for checking in!

Broadway Monday

In the Next Room (or the vibrator play)

In the Next Room (or the vibrator play) illuminates the lives of six lonely people seeking relief from a local doctor—but, despite his expertise with a strange new technology, all they really need is intimacy. It’s a tender tale that takes place in the twilight of the Victorian age, an elegant comedy lit by unexpected sparks from the approaching era of electricity, equality, science and sexuality.

So. A play about vibrators. Hmmm..how do I feel about that... AWESOME!!!!

There is great buzz about this play making it's way to Broadway this year. I can only assume the houses will be full of curious women and men who can't escape the pull of the title. I mean really. I'll go see it simply from the curiosity standpoint! The second thing that intrigues me about this show is that it's not set in the modern day as one would expect. It's set in the 19th century when people didn't talk about sex much less pleasuring oneself! I adore the juxtaposition of the topic versus the laced-up stodgy era in which it's taking place. Oh! Did I mention there is a little lesbian/girl-crush action sprinkled in for good measure?!

The characters reveal their inadequacies in both relationships and knowledge of their bodies and in the process come to terms with their own shortcomings and narrow-mindedness. I said this was a period piece, right? Right. I can already see the time traveling parallels being drawn.

I think it is an interesting presentation twist on a common topic and may very well be the vehicle that propels playwright Sarah Ruhl a bit closer to the stratosphere.

In the Next Room (or the vibrator play) opens on Broadway at the Lyceum Theatre at Lincoln Center. Run time is scheduled for November 19, 2009-January 10, 2010.

Broadway Monday

Broadway Theatres Focus is generally placed on the shows, the stars, the awards, and the money generated eight times a week in the theatres of Broadway. However, there is a little unsung player of every show that usually goes unnoticed and rarely recognized. The truth is: without the house the show would go on, but would be far less impressive and memorable.

Broadway theatres are absolutely stupendous. Each house is unique, beautiful and full of character all her own. Every house has a different shape, facade, lobby, marquee, smell, feel, decor, seat, vibe, energy and story. Stories that morph and change with each new show.

On my first trip to New York I was so excited to realize that Broadway theatres are, for the most part, small. Sure you can look at a seating chart and sort of envision the arrangement, but it's not until you enter those doors and find your way to your seat that you realize how small the theatre really is, and how easy it will be to see the action no matter where you sit. It is an amazing, exciting revelation.

Recently the smallness of one particular theatre worked against me. I featured Next to Normal a couple of month's ago after we saw it in May of this year, but I didn't go into huge detail regarding my actual theatre experience so here goes:

The Booth Theatre is very intimate and just wonderful for an impactful show like Next to Normal. A couple of numbers before intermission, I found myself very overcome with emotion which I had been keeping at bay, but suddenly I needed to be able to catch my breath. I slipped out of my aisle seat and made my way to the lobby very quietly...if I could just make it to the lobby, I thought, I can let out my breath and sob just a little, regain my composure and go back inside. I made it to the lobby door, threw my hands over my face and bawled only to look up and see a lobby full of ushers patiently waiting for intermission to begin, but now staring at me. I felt like a pinball as I turned from wall to door to wall, and back to the door looking for a place to cry all the while trying to deal with the flood of emotion taking over my body. Let me explain further: the lobby is most likely about 30' x 30' with a bar and stairs. Not a big place. Well, here look for yourselves. Here is the door I came out of, the statue I bawled beside, and the bar where an usher kindly fetched me a tissue. Yep, made memories that night for me AND a group of ushers!This time the intimate theatre experience was not on my side. Even after intermission and regaining my composure, I felt like I was the only one in this tiny theatre watching this show. I couldn't get away from the message and meaning the show delivered. Of course most of that event occurred due to an extremely powerful show, but it would never have happened without the theatre. Broadway theatres are an amazing piece of New York architecture that both change yet stay the same as the years go by. Each new show to a theatre brings new life to the building and changes it a little or a lot depending on the show's set of legs. A great example is the beautiful Gershwin Theatre, home to the Tony Award winning musical Wicked, which has completely taken on the feel of the show. Once you hand the usher your ticket, you begin the journey to the Land of Oz.

In contrast, there are theatres that quietly hold the secrets of their show behind a common generic curtain never hinting at what is in store for the warm bodies inhabiting it's velvet seats. Sometimes you never know what's in store for you.

Eight times a week the doors of the theatres close at the same time and silence befalls the little side streets near Times Square. It is such a cool thing to imagine that happening every night at 8pm. I know I'm a dork, but many nights I look at the clock and envision where in the story my favorite shows are at different intervals. There have been times while in NYC when I wasn't seeing a show (it's true) and walking along 44th Street at 8:30 at night thinking to myself "Right now there are shows all over this city in progress. There are people laughing, crying, singing, listening and learning all at the same time." I just love that idea. I just love knowing that all over the city there are people having a great, culturally exhilarating experience. Each experience in a unique beautiful setting, cradling voices telling stories for those who will listen.

taking a break

To be perfectly honest, I'm mad at Broadway
today so there won't be a post.
Don't worry, I'm sure I'll get over it.

Broadway Monday

Superior Donuts Arthur Przybyszewski owns a decrepit donut shop in the Uptown neighborhood of Chicago. Franco Wicks, a black teenager who is his only employee, wants to change the shop for the better. This provocative comedy, set in the heart of one of Chicago's most diverse communities, explores the challenges of embracing the past and the redemptive power of friendship.
This week's feature is a preview of sorts since this play will not open on Broadway until October. But because writer Tracy Lett's is still fresh off the astounding success of August: Osage County, I thought it might be nice to get ready for his next venture with a short peak at this new play. Donuts has been playing/previewing out of town at the Steppenwolf Theatre in Chicago to rave reviews and much anticipation in New York. Take a look at this short piece which gives a great feel for the new piece.

Superior Donuts will open October 1, 2009 at the Music Box Theatre in New York with previews beginning September 16, 2009.

Broadway Monday

The Norman Conquests

Three interlocking, but independent comedies show the same story — Norman attempts a tryst with his wife's sister in the family's country home — from three different perspectives: the things that happen in the dining room, the things that happen in the living room and the things that happen in the garden.

This unique spin on what is most likely a somewhat common event is brought to life by the fact that it is viewed by the audience from three different perspectives. Norman's attempts are given life from three vantage points and new details unfold in each setting giving life to the storyline.

Adding to the intrigue for the audience is that you can: see one of the plays, all three of the plays at different showtimes/days, or put your sittin' muscle through it's paces and attend the marathon which runs on Saturdays and Sundays. That's over six hours of theatre goodness in one day starting at 11:30, 3:30 and 8:00. Just enough time in between shows to catch a bite and a cup of coffee. What a genius idea!

The Norman Conquests was written by Alan Ayckbourn and directed by Matthew Warchus. The trilogy was nominated for seven Tony Awards and garnered the statue for Best Revival of a Play.

The Norman Conquests opened at the Circle in the Square Theatre on April 11, 2009 and will close July 29, 2009.

Broadway Monday

My Fair Lady

Professor Henry Higgins made a bet that if he could get a poor girl who sells flowers, to speak the English language properly, she would fit into the higher class. Eliza Doolittle, a Cockney flower girl, takes speech lessons from Higgins so that she can pass as a lady. Higgins takes credit for Eliza's success, but Eliza soon realizes that she can now be independent and does not need him.

My Fair Lady is a musical based upon George Bernard Shaw's Pygmalion and with book and lyrics by Alan Jay Lerner and music by Frederick Loewe. In 1956, My Fair Lady was a smashing success, becoming the longest running musical production in theatre history. It immediately spawned a London production, a popular film version, numerous revivals, and local/regional theatre productions.

The original cast featured Rex Harrison and Julie Andrews in the lead roles. Both stars went on to reprise their roles in the West End production which opened in 1958 and ran for 2281 performances.

It was again Harrison in the role of Higgins as the 1964 film version hit the screen, but this time Audrey Hepburn took on the role of Eliza, while Julie Andrews went on to win the Oscar for Best Actress that year for Mary Poppins.

My Fair Lady opened March 15, 1956 at the Mark Hellinger Theatre and ran for 2717 performances. Tony Awards showered the production with Best Musical, Best Actor, Best Direction, Best Conductor, Best Scenic Design and Best Costume Design.