Broadway
65th Annual Drama Desk Award Nominations
The nominees for the 65th Annual Drama Desk Awards are:
Outstanding Play
Cambodian Rock Band, by Lauren Yee, Signature Theatre
Greater Clements, by Samuel D. Hunter, Lincoln Center Theater
Halfway Bitches Go Straight to Heaven, by Stephen Adly Guirgis, Atlantic Theater Company/LAByrinth Theater Company
Heroes of the Fourth Turning, by Will Arbery, Playwrights Horizons
The Inheritance, by Matthew Lopez
Outstanding Musical
Octet, Signature Theatre
The Secret Life of Bees, Atlantic Theater Company
Soft Power, The Public Theater
A Strange Loop, Playwrights Horizons/Page 73 Productions
The Wrong Man, MCC Theater
Outstanding Revival of a Play
Fefu and Her Friends, Theatre for a New Audience
for colored girls who have considered suicide/when the rainbow is enuf, The Public Theater
Mac Beth, Red Bull Theater/Hunter Theater Project
Much Ado About Nothing, The Public Theater
A Soldier’s Play, Roundabout Theatre Company
Outstanding Revival of a Musical
Little Shop of Horrors
The Unsinkable Molly Brown, Transport Group
West Side Story
Outstanding Actor in a Play
Charles Busch, The Confession of Lily Dare
Edmund Donovan, Greater Clements
Raúl Esparza, Seared
Francis Jue, Cambodian Rock Band
Triney Sandoval, 72 Miles to Go…
Kyle Soller, The Inheritance
Outstanding Actress in a Play
Rose Byrne, Medea
Liza Colón-Zayas, Halfway Bitches Go Straight to Heaven
Emily Davis, Is This A Room
April Matthis, Toni Stone
Ruth Negga, Hamlet
Outstanding Actor in a Musical
David Aron Damane, The Unsinkable Molly Brown
Chris Dwan, Enter Laughing
Joshua Henry, The Wrong Man
Francis Jue, Soft Power
Larry Owens, A Strange Loop
Outstanding Actress in a Musical
Tammy Blanchard, Little Shop of Horrors
Beth Malone, The Unsinkable Molly Brown
Saycon Sengbloh, The Secret Life of Bees
Elizabeth Stanley, Jagged Little Pill
Adrienne Warren, Tina: The Tina Turner Musical
Outstanding Featured Actor in a Play
Victor Almanzar, Halfway Bitches Go Straight to Heaven
Esteban Andres Cruz, Halfway Bitches Go Straight to Heaven
David Alan Grier, A Soldier’s Play
Paul Hilton, The Inheritance
Chris Perfetti, Moscow Moscow Moscow Moscow Moscow Moscow
Outstanding Featured Actress in a Play
Patrice Johnson Chevannes, runboyrun & In Old Age
Kristina Poe, Halfway Bitches Go Straight to Heaven
Belange Rodríguez, The Brief Wondrous Life of Oscar Wao
Elizabeth Rodriguez, Halfway Bitches Go Straight to Heaven
Lois Smith, The Inheritance
Outstanding Featured Actor in a Musical
George Abud, Emojiland
Christian Borle, Little Shop of Horrors
Jay Armstrong Johnson, Scotland, PA
Conrad Ricamora, Soft Power
Ryan Vasquez, The Wrong Man
Outstanding Featured Actress in a Musical
Yesenia Ayala, West Side Story
Paula Leggett Chase, The Unsinkable Molly Brown
LaChanze, The Secret Life of Bees
Alyse Alan Louis, Soft Power
Lauren Patten, Jagged Little Pill
Outstanding Director of a Play
Jessica Blank, Coal Country
Stephen Daldry, The Inheritance
John Ortiz, Halfway Bitches Go Straight to Heaven
Tina Satter, Is This A Room
Erica Schmidt, Mac Beth
Outstanding Director of a Musical
Stephen Brackett, A Strange Loop
Thomas Kail, The Wrong Man
Kathleen Marshall, The Unsinkable Molly Brown
Leigh Silverman, Soft Power
Annie Tippe, Octet
Outstanding Choreography
Camille A. Brown, for colored girls who have considered suicide/when the rainbow is enuf
Anne Teresa De Keersmaeker, West Side Story
Keone Madrid and Mari Madrid, Beyond Babel
Kathleen Marshall, The Unsinkable Molly Brown
Sonya Tayeh, Moulin Rouge!
Travis Wall, The Wrong Man
Outstanding Music
Ross Golan, The Wrong Man
Michael R. Jackson, A Strange Loop
Dave Malloy, Octet
Joshua Rosenblum, Einstein’s Dreams
Duncan Sheik, The Secret Life of Bees
Jeanine Tesori, Soft Power
Outstanding Lyrics
Susan Birkenhead, The Secret Life of Bees
Adam Gwon, Scotland, PA
Michael R. Jackson, A Strange Loop
Joanne Sydney Lessner and Joshua Rosenblum, Einstein’s Dreams
Dave Malloy, Octet
Mark Saltzman, Romeo & Bernadette
Outstanding Book of a Musical
David Henry Hwang, Soft Power
Michael R. Jackson, A Strange Loop
Dave Malloy, Octet
Lynn Nottage, The Secret Life of Bees
Mark Saltzman, Romeo & Bernadette
Dick Scanlan, The Unsinkable Molly Brown
Outstanding Orchestrations
Tom Kitt, Jagged Little Pill
Alex Lacamoire, The Wrong Man
Or Matias and Dave Malloy, Octet
Danny Troob, John Clancy, and Larry Hochman, Soft Power
Jonathan Tunick, West Side Story
Outstanding Music in a Play
Steve Earle, Coal Country
Frightened Rabbit, Square Go
Jim Harbourne, Feral
Martha Redbone, for colored girls who have considered suicide/when the rainbow is enuf
Adam Seidel, Jane Bruce, and Daniel Ocanto, Original Sound
Outstanding Scenic Design for a Play
Catherine Cornell, Mac Beth
Clint Ramos, Grand Horizons
Adam Rigg, Fefu and Her Friends
Paul Steinberg, Judgment Day
B.T. Whitehill, The Confession of Lily Dare
Outstanding Scenic Design for a Musical
Julian Crouch, Little Shop of Horrors
Anna Louizos, Scotland, PA
Derek McLane, Moulin Rouge!
Clint Ramos, Soft Power
Amy Rubin and Brittany Vasta, Octet
Outstanding Costume Design for a Play
Asa Benally, Blues for an Alabama Sky
Montana Levi Blanco, Fefu and Her Friends
Toni-Leslie James, for colored girls who have considered suicide/when the rainbow is enuf
Antony McDonald, Judgment Day
Rachel Townsend and Jessica Jahn, The Confession of Lily Dare
Kaye Voyce, Coriolanus
Outstanding Costume Design for a Musical
Vanessa Leuck, Emojiland
Jeff Mahshie, Bob & Carol & Ted & Alice
Mark Thompson, Tina: The Tina Turner Musical
Anita Yavich, Soft Power
Catherine Zuber, Moulin Rouge!
Outstanding Lighting Design for a Play
Isabella Byrd, Heroes of the Fourth Turning
Oona Curley, Dr. Ride’s American Beach House
Heather Gilbert, The Sound Inside
Mimi Jordan Sherin, Judgment Day
Yi Zhao, Greater Clements
Outstanding Lighting Design for a Musical
Betsy Adams, The Wrong Man
Jane Cox, The Secret Life of Bees
Herrick Goldman, Einstein’s Dreams
Bruno Poet, Tina: The Tina Turner Musical
Justin Townsend, Moulin Rouge!
Outstanding Projection Design
David Bengali, Einstein’s Dreams
Julia Frey, Medea
Luke Halls, West Side Story
Lisa Renkel and POSSIBLE, Emojiland
Hannah Wasileski, Fires in the Mirror
Outstanding Sound Design for a Play
Paul Arditti and Christopher Reid, The Inheritance
Justin Ellington, Heroes of the Fourth Turning
Mikhail Fiksel, Dana H.
Palmer Hefferan, Fefu and Her Friends
Lee Kinney and Sanae Yamada, Is This A Room
Outstanding Sound Design for a Musical
Tom Gibbons, West Side Story
Kai Harada, Soft Power
Peter Hylenski, Moulin Rouge!
Hidenori Nakajo, Octet
Nevin Steinberg, The Wrong Man
Outstanding Wig and Hair Design
Campbell Young Associates, Tina: The Tina Turner Musical
Cookie Jordan, Fefu and Her Friends
Nikiya Mathis, STEW
Tom Watson, The Great Society
Bobbie Zlotnik, Emojiland
Outstanding Solo Performance
David Cale, We’re Only Alive for a Short Amount of Time
Kate del Castillo, the way she spoke
Laura Linney, My Name is Lucy Barton
Jacqueline Novak, Get on Your Knees
Deirdre O’Connell, Dana H.
Unique Theatrical Experience
Beyond Babel, Hideaway Circus
Feral, Tortoise in a Nutshell/Cumbernauld Theatre/59E59
Is This A Room, Vineyard Theatre
Midsummer: A Banquet, Food of Love Productions/Third Rail Projects
Outstanding Fight Choreography
Vicki Manderson, Square Go
Thomas Schall, A Soldier’s Play
UnkleDave’s Fight House, Halfway Bitches Go Straight to Heaven
Outstanding Adaptation
A Christmas Carol, by Jack Thorne
Judgment Day, by Christopher Shinn
Mojada, by Luis Alfaro
Moscow Moscow Moscow Moscow Moscow Moscow, by Halley Feiffer
Outstanding Puppet Design
Raphael Mishler, Tumacho
Rockefeller Productions, Paddington Gets in a Jam
Amanda Villalobos, Is This A Room
Special Awards:
Ensemble Award: To the eight pitch-perfect performers in Dave Malloy’s a cappella musical Octet: Adam Bashian, Kim Blanck, Starr Busby, Alex Gibson, Justin Gregory Lopez, J.D. Mollison, Margo Seibert, and Kuhoo Verma proved instrumental in giving a layered look at modern forms of addiction.
Sam Norkin Award: To actress Mary Bacon, who continued her versatile career of compassionate, searing work for such companies as The Mint, Primary Stages, The Public Theater, and The Actors Theater Company, with two of Off-Broadway’s most humane performances this season in Coal Country at the Public Theater and Nothing Gold Can Stay presented by Partial Comfort Productions.
To The Public Theater’s Mobile Unit, a reinvention of Joseph Papp’s “Mobile Theater” that began in 1957 and evolved into the New York Shakespeare Festival and The Public Theater. The current Mobile Unit tours free Shakespeare throughout the five boroughs, including prisons, homeless shelters, and community centers, reminding audiences new and old that the play really is the thing.
To WP Theater and Julia Miles, the company’s founder who died this spring. Formerly known as The Women’s Project and Productions, the company began in 1978 at American Place Theatre, where Miles served as associate to visionary artistic director Wynn Handman, who also died this spring. WP is the largest, most enduring American company that nurtures and produces works by female-identified creators. Over a little more than four decades, it has changed the demographics of American drama through an unwavering focus on women writers, directors, producers, performers, and craftspeople.
To Claire Warden for her pioneering work as an intimacy choreographer in such recent projects as Frankie and Johnny in the Claire de Lune and Linda Vista, and her leadership in the rapidly emerging movement of intimacy direction. As part of the creative team of Intimacy Directors & Coordinators and Director of Engagement for and co-founder of Intimacy Directors International, she is helping create theater experiences that are safer for performers and more authentic for contemporary audiences.
Stephen Sondheim birthday was March 22nd and somehow I missed it. His masterpiece Sweeney Todd opened on Broadway originally March 1, 1979, at the Uris Theatre (now the Gershwin). His newest revival opened Sunday, March 26th at the Lunt-Fontanne Theatre. So here’s to you Steve.
With a blast of bright white light, the Broadway revival of Parade marches itself forcibly onto the stage, surging from the sidelines once the love-making center stage comes to an end. It’s a compelling beginning, one that, as it turns out, doesn’t really add a whole lot to the proceedings. But the show finds its strong footing soon after. No doubt about it. I didn’t really understand the full need for the sexual interaction between the young soldier (Charlie Webb) and his pretty young companion (Ashlyn Maddox) that takes place in those first few moments, as well as the consistent reappearing of that same soldier, 50 years later, as an old man (Howard McGillin) throughout, other than to remind us that the old Confederate way of thinking still flies its flag strong and true. Even if the flags they are waving in this production of Parade make us feel uneasy and unsure.
Overall, the compounding effect is captivating and intense, as this musical, with a book by Alfred Uhry (Driving Miss Daisy), music and lyrics by Jason Robert Brown (Songs for a New World; The Last Five Years), and originally co-conceived by Harold Prince (West Side Story), stands strong, taking on race, antisemitism, and prejudice in “The Old Red Hills of Home” South. It dutifully dramatizes the disturbing but true story of a 1913 trial of a Jewish factory manager who was wrongly accused and convicted of raping and murdering a thirteen-year-old young girl and employee of the factory. The musical revival is as timely as can be, and as surefooted as one could hope for. And as directed carefully and artistically by Michael Arden (Broadway/Deaf West’s Spring Awakening), Parade delivers on all fronts.
After a well-received short run as part of New York City Center’s Encores! series, this tense and sharp musical finally has made its way back. I didn’t really know much about this musical, but I was surprised to hear that it first premiered on Broadway in December 1998 starring Brent Carver and Carolee Carmello in the two lead roles. It won Tony Awards for Best Book and Best Original Score (out of nine nominations), not surprisingly, and six Drama Desk Awards. And I’m guessing the accolades will come pouring in once again when the Tony Award nominations are announced.
Portraying that doomed factory manager, Leo Frank, Ben Platt (Broadway’s Dear Evan Hansen) once again finds power and passion in abundance, striding back onto the Broadway stage both sheepishly and strongly. He grabs hold of the part, demanding justice and the truth for the man who tried his imperfect best to live a dutiful life. Married to his loving wife, Lucille, played spectacularly by Micaela Diamond (Broadway’s The Cher Show), the pair seems well-matched, both in their characterizations and their vocal expertise. Their singing and emotionality soar, especially in Lucille’s “You Don’t Know This Man” and Leo’s captivating Statement, “It’s Hard to Speak my Heart“, as the piece gets darker and darker, breaking apart our collective hearts as it marches to the end. We all know this is not going to end well for this innocent man, but we are drawn in completely as the two begin, quite quietly, finding a simple and tender, yet complicated connection in their marriage.
We feel their bond as Leo gets ready and makes his way to the office on this odd day of celebration in Atlanta. He sidesteps the parade, which is oddly celebrating the confederacy and a war lost, leaving his wife to picnic alone. We collectively wish he’d stay home, giving in to the gentle pleas of his wife. Things might have turned out so differently if he had. But this is the tale that must be told, to be witness to, as we are simultaneously given a glimpse into the soon-to-be shortened life of Mary Phagan (Erin Rose Doyle), being flirted with by a young boy (Jake Pedersen) about “The Picture Show“, as she rides a trolley car on her way to the factory to collect her wages, at ten cents an hour. The white balloon floats above her head, just like her spirit, simple and buoyant, until it escapes her hand, and floats away from her into the heavens above.
“The Dream of Atlanta” isn’t so true, fair, or right, as it doesn’t take long for that Jewish factory manager to be accused of the raping and murdering Mary Phagan, even as we see clearly that it wasn’t, and couldn’t possibly be Leo. The “Hammer of Justice” isn’t honest, that becomes obvious, but it is the way it works, as we watch the unhonourable Hugh Dorsey, an ambitious politician with a “lousy conviction record,” played to perfection by Paul Alexander Nolan (Broadway’s Slave Play) decide, regardless of proof, to convict, at least one of the two men who were around the factory at the time. Would it be the simple black man, Newt Lee (Eddie Cooper), the night watchman who discovered the body, or the Jewish man who wrings his hands and looks down at his feet? This is “Real Big News“, we are told, by the opportunist reporter, Britt Craig, dynamically portrayed by Jay Armstrong Johnson (NYCC Encores’ A Chorus Line), as we watch the spin gets spinning. Dorsey, with the blessing of Governor of Georgia, John M. Slaton, as played strongly by Sean Allan Krill (Broadway’s Jagged Little Pill) with his wife, Sally (Stacie Bono), standing at his side, turns the accusing finger towards Leo Frank, for no other reason than not wanting to hang another black man. “We gotta do better.“
“A Rumblin’ and A Rollin’” towards the trial, this wrongly orchestrated circus is sensationalized by the newspapers and arouses some pretty disturbing antisemitic hatred across the stage, and the whole state of Georgia that sometimes, as a whole, gets a bit lost inside the jumble of the large cast of characters. Yet, despite the messiness of grieving mothers (Kelli Barrett) and observing servants (Douglas Lyons, Courtnee Carter), the “That’s What He Said” testimonies are a thoroughly uncomfortable parade to bear witness to, as a musical game of justice chairs is performed, most fascinatingly by the cast that includes Sophia Manicone, Maddox, and DeMartino, as members of the community, the factory, and another one straight from Frank’s own home, Minnie McKnight (Danielle Lee Greaves). It’s played out strong and deliberate, particularly and most strikingly when Platt’s Leo takes on the alternate guise of the evil Jewish man-character that is being portrayed by the witnesses, orchestrating the murder and rape of a young girl, untruely formulated by the ambitious Dorsey.
He pulls out all stops to get what he wants and needs from the jury in a masterclass of duplicity and dishonesty. But the final blow comes from the dynamic and magnetic coerced testimony by Jim Conley, as portrayed magnificently by the super talented Alex Joseph Grayson (Broadway’s The Girl From…) that brings the musical theatre roof down on the audience in the Bernard B. Jacobs Theatre. The hypnotizing performance of Grayson is completely unstoppable. It’s clear. There is no other way this trial would go in front of the complicit Judge Roan, portrayed by McGillin (Broadway’s Gigi), and as we sit and watch Act One swing its way horrifically toward the verdict, we cannot help but feel the sickness in our stomachs grow. And the disgusting smell of injustice fill the interval air.
The “Pretty Music” and “The Glory” lyrics spiral out as strong and true as the cause, delivering the ideals forward beautifully and emotionally thanks to the fine work of music director/conductor Tom Murray (Broadway’s Anastasia) and music coordinator Kimberlee Wertz (Broadway’s The Music Man), is laid out bare. The sound is magnificent, pushing out the intricate story with a rhythmic and complicated style that contains so much meaning within the array of numerous complimentary musical genres. The formula is intense, enhanced by the strong straight-shooting choreography of Lauren Yalango-Grant and Christopher Cree Grant (OBS’s King Kong). As the stage is crowded to the rim with benches and chairs, infused with impeccable tension by scenic designer Dane Laffrey (Broadway’s Once on This Island), with solid costuming by Susan Hilferty (Broadway’s Funny Girl), deliberate lighting by Heather Gilbert (Broadway’s The Sound Inside), and a clear sound design by Jon Weston (Broadway’s Paradise Square). The large squared statement at the heart of the piece gives a strength to the sentencing, which is only enhanced and elevated by the stellar work of projection designer Sven Ortel (Broadway’s Thoughts of a Colored Man), who gives a historic face to the profiling and to the proceedings.
But the true heart of this intricate and wise musical lies in the very capable and talented hands of Diamond, who takes charge of the stage, even as her character’s husband insists he needs to “Do It Alone.” It’s her under-estimated passion and incredible voice that drives this story to its history-making conclusion, as we rally behind the determined Lucille as she pushes on the departing Governor Slaton to commute Frank’s death sentence to life in prison after a further, and more fair, investigation. Leo Frank is transferred, thankfully, to a prison in Milledgeville, Georgia, and even though that is where the story should have found a more peaceful ending, the most tragic part of this true-to-life tale comes knocking, somewhat due to the hate-mongering of a writer for The Jeffersonian, an extremist right-wing newspaper, by the name of Tom Watson, played strongly by Manoel Felciano (Red Bull’s The Alchemist). Leo Frank, the wronged and innocent man, pulled from his life by antisemitism and racial hate, was hanged from an oak tree in the hometown of Mary Phagan. For no other reason than being a Jewish man who happened to be working on a holiday in the same building on the day this young girl was killed.
On a side note, the events surrounding the investigation and trial led to two very different groups emerging from the fray; the revival of the defunct KKK and the birth of the Jewish Civil Rights organization, the Anti-Defamation League (ADL). Parade, the revival musical that has stormed onto Broadway, brings all of that complicated energy to the forefront, expanding and enlightening, while not shying away from the horror of the events. “Where Will You Stand When the Flood Comes?“, the musical asks. And in the hands of Arden, its director; its fantastically talented two lead players, Platt and the incomparable Diamond; and the entire cast and crew, Parade marches ever-so strong and true. A masterpiece and master class, not to be missed. Thanks again, Encores! You’ve delivered once again.
Broadway
Broadway’s A Doll’s House Meticulously Stunning Revival Soars Like a Birdie Above That Clumsy Cat on a Hot Tin Roof
For a revival to find its footing, it has to have a point of view or a sense of purpose far beyond an actor’s desire to perform a part, whether it suits them or not. It needs to radiate an idea that will make us want to sit up and pay attention. To feel its need to exist. And on one particular day in March, I was blessed with the opportunity to see not just one grande revival, but two. One was a detailed pulled-apart revolutionary revival of Henrik Ibsen’s A Doll’s House that astounded. The other, unfortunately, was a clumsy revival of Tennessee Williams’ Cat on a Hot Tin Roof that fell lazily from that high-wired peak – not for a lack of trying, but from a formulation that never found its purpose.
But over at Broadway’s Hudson Theatre, a reformulation chirps most wisely and wonderfully, bringing depth and focus to a classic Henrik Ibsen (Hedda Gabler) play that I didn’t realize was in such need of an adaptation. With no extravagance at its core, Amy Herzog (Mary Jane) dynamically takes the detailed structure and beautifully adapted it with due purpose. It hypnotizes, dragging in a number of light wooden chairs, Scandinavian in style, I believe, onto the stage, one by one, by their black-clad counterparts in a determined effort to unpack what will unfold. There is no artifice to hide behind in this rendering, as designed most impeccably by scenic and co-costume designer Soutra Gilmour (NT’s My Brilliant Friend; Broadway’s & Juliet) and co-costume designer Enver Chakartash (Broadway’s Is This A Room), only A Doll’s House’s celebrated star, Jessica Chastain (Broadway’s The Heiress; “The Eyes of Tammy Faye“) rotating the expanse of the bare stage before the others join her slowly and deliberately. She sits, arms crossed, staring, daring us to look away, while knowing full well we won’t. Or can’t. And without a word, it feels like she has us exactly where she wants us. Needs us to be. And all that transpires before the play even begins.
They sit on that bare and stark stage, waiting, in a way, to be played with, like dolls patiently wanting some children to come and give them a voice through their imagination. As Nora, Chastain delivers forward a performance that is unparalleled. To witness what transpires across her face during the course of this extra fine adaptation is to engage in a dance so delicately embroidered that we can’t help but be moved and transported. She barely moves from her chair, as others, like the equally wonderful Arian Moayed (Broadway’s The Humans) as Torvald, are rotated in to sit beside her, conversing and delivering magnified lines, thanks to the brilliant work of sound designers Ben & Max Ringham (West End’s Prima Facie), that dig deep into the underbelly of the complicated interactions. This pair of actors find a pathway through the darkness, never letting us come to any conclusions until they are ready to unleash a moment that will leave you breathless. This is particularly true for Moayed’s Torvald, who seems decent enough at the beginning, but once the shift occurs, when the beautiful thing doesn’t happen as it should, his unveiling is as gut-wrenching to us as it is to Nora. Even though we knew it was coming long before the play even began to spin forward.
The art of the unfolding is steeped within the whole, refocused inside the brilliant shading, shadowing, and starkness of the cast. As Krogstad, the powerful Okieriete Onaodowan (Broadway’s Hamilton), alongside the deliciously tight Jesmille Darbouze (Broadway’s Kiss Me, Kate) as Kristine, find an engagement that sits perfectly in the structuring. They push the reforming to the edge, approaching and receding away from Chastain’s brilliant centering helping move the piece towards the required conclusion.
The same can be said of the wonderful Tasha Lawrence (LCT’s Pipeline) as Anne-Marie, and the exquisitely emotional turning of Michael Patrick Thornton (Broadway’s Macbeth) as Dr. Rank. Thornton, in particular, finds a telling and emotional space to connect, unearthing an engagement that breaks the circle apart, leaving Chastain’s Nora and all of us observers shattered and broken in its black X’d finality.
As directed with the same magnificently detailed energy and flat-walled framework as the previously seen Betrayal on Broadway and the West End, Jamie Lloyd gives us A Doll’s House that will never be forgotten. The focus is so deliberate, and the formulations are just so strong, pushed forward in black and white by the exacting lighting design of Jon Clark (West End/Broadway’s The Lehman Trilogy). Forced while remaining ever so intimate, the cascading of the statement delivered registers in a precise way, more exacting than I ever remembered, and I’ve seen numerous renditions of this epic play. And even though, from what I hear, many on the left couldn’t see the epic exit of Nora, a moment that typically registers throughout theatre history, the symbol of a woman, steadfast and true, leaving the safe and simple artifice of A Doll’s House for engagement in the hard cruel reality of the world outside is as clear as can be. The delicacies of this birdie trapped inside a cage, poisoned with lies and excuses, and beautifully brought forth by Chastain, registers the reasonings for this revival to exist. It has found a new and deliberate place to sing, and for that, I am truly grateful.
I wish I could say the same about Ruth Stage‘s modern take on the Tennessee Williams (A Streetcar Named Desire) classic, Cat on a Hot Tin Roof, currently being re-delivered at the Theatre at St. Clements. As directed by Joe Rosario (Hemingway and Me; Ruth Stages’ The Exhibition), the play doesn’t find its rationale for existing in the modern day beyond the simplistic sexualization of its boxing-ring corners. Matt de Rogatis (Austin Pendleton’s Wars of the Roses) as the tense athletic Brick stays broken and damaged in his corner, riding out the moment, waiting for the click, while in the other corner is the tense Maggie, played without hesitation by Courtney Henggeler (Netflix’s “Cobra Kai“) poised and ready for the bell to ring.
The battle is only heightened by the presence of two other fighters in the opposing corners, Big Daddy, played with determination by Frederick Weller (Broadway’s To Kill a Mockingbird) in the third, and Big Mama, played with a strong intent by Alison Fraser (Gingold Theatrical’s Heartbreak House), in the fourth. And watching and cheering for their own personal perspective wins are the obnoxious Mae, typically portrayed by Christine Copley (although I believe I saw an understudy), the weasely Gooper, played by Adam Dodway (Theatre Row’s Small Craft Warnings), Rev. Tooker portrayed by Milton Elliott (Ruth Stage’s Hamlet), and Doc Baugh, typically played by Jim Kempner (“The Girlfriend Experience“) (although, once again, I believe I saw an understudy).
Generally, this is a battle that rages deceptively strong and subtle for the length of the play, swimming cruelly in the hazy heat of its Southern charm. But somewhere in this modernization, the reasonings never get fully realized, leaving the cast to wander in their stereotypical delivery without a sharp focal point in the horizon to zero in on. Hidden behind the bar and the drink, de Rogatis finds a Brick to be engaged with. He’s definitely handsome and desirable, especially in the eyes of the far-too-straightforward Henggeler’s Maggie the Cat, and his occupation of drinking rings more true than most. I’m not sure if the modernization has been created to fit his chest-baring delivery of a broken Brick, but I will say that his artful approach to the part is one of the stronger components of this otherwise clunky reimagining.
Given so much to unpack, Henggeler runs a little too fast and furious, not weaving a pause into her thoughts and actions. It’s all forward flowing, ignoring the laws of silence and deliberation. Big Mama and Big Daddy, ignoring the fact that they don’t seem to fit in with their surroundings or the set-up, find their way into the same cage as the two central figure fighters, giving us something else to contemplate in their constructs, beyond their tight fitting jeans and dress. There’s not much of a father/son connection, nor does their familial energy register, even as it moves and twitches within the pauses well. The details of attachment are lost, as they talk around things, with everyone else playing at high volume, courtesy of a sound design by Tomás Correa (Hudson Street’s Adam & Eve), delivering the Southern drawl with the intensity of an SNL skit. That’s a problem to the whole and one that doesn’t work for this rendering.
Most of the cast is all hock and no spit, moving around the room with a strange case of physicalized mendacity while never really finding a reason for their existence. The artifice gets in the way of the movement, especially in Matthew Imhoff’s (off-Broadway’s soot and spit) busy and overly clumsy set, with some distracting fading in and out by lighting designer Christian Specht’s (SSTI’s Cabaret). The storm approaching is as false as the formula and the reasoning for this retelling. It showcases some basically good actors embracing the chance to play iconic Big roles that I’m sure they have always wanted to dig their Southern-accented chomps into, possibly because one or two of them might never otherwise get the chance as they don’t exactly fit the literal sashaying of the “fat old” bodies out and around the staging of this play. The idea breeds curiosity, but one that doesn’t save this Cat on a Hot Tin Roof from falling quick and hard from its perch, I’m sad to say. While the birdie in A Doll’s House flies strong out into the cool Broadway air, with solid reasoning on its stark wings, reminding us all what makes for a worthy reimagining of a classic.
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