Roundabout Theatre Company (Todd Haimes, Artistic Director/CEO) is pleased to announce full casting for the new Broadway production of Sam Shepard’s Tony & Pulitzer Prize-nominated drama True West, directed by James Macdonald (The Children), starring acclaimed screen and stage actors Ethan Hawke as “Lee” and Paul Dano as “Austin.” Marylouise Burke and Gary Wilmes join the cast as “Mom” and “Saul Kimmer.”
Opposites attack in Sam Shepard’s Pulitzer Prize-nominated play about two brothers with more in common than they think. Holed up in their mother’s California house, screenwriter Austin (Dano) and lowlife Lee (Hawke) wrestle with big issues—and each other. Order vs. chaos. Art vs. commerce. Typewriter vs. toaster…Shepard’s rip-roaring classic returns to Broadway, gleefully detonating our misguided myths of family, identity and the American Dream.
Shepard, Hawke and Dano have long artistic relationships, with Hawke being a longtime collaborator and friend of the late Sam Shepard. Hawke has also acted alongside Dano on film (Taking Lives) and directed him on stage (Things We Want).
Roundabout Theatre Company welcomes back Paul Dano who made his Broadway debut at age 10, in the 1995 revival of A Month in the Country starring Helen Mirren and Gary Wilmes, who was featured recently in Steven Levenson’s If I Forget at the Laura Pels Theatre.
Roundabout is also pleased to announce the creative team will include Tony Award winner Mimi Lien (Sets), and Roundabout alumnae: Obie winner Kaye Voyce (Costumes) and Tony nominee Jane Cox (Lights).
True West will begin preview performances on December 27, 2018 and officially open on Broadway on Thursday, January 24, 2019. This will be a limited engagement at the American Airlines Theatre on Broadway (227 West 42nd Street).
Ethan Hawke(Lee) is a Tony and four-time Academy Award nominated actor and writer whose diverse career as a novelist, actor, director, and screenwriter spans more than three decades. Hawke recently premiered “BLAZE” at the 2018 Sundance Film Festival in the U.S. Dramatic Competition category, a drama he produced, co-wrote and directed about the life of country western musician Blaze Foley. The film received rave reviews and won the Special Jury Award for actor Ben Dickey’s spellbinding performance. Hawke stars alongside Rose Byrne and Chris O’Dowd in the Judd Apatow-produced romantic comedy, “Juliet, Naked,” based on the best-selling Nick Hornby novel of the same name. Directed by Jesse Peretz, the film also premiered at the 2018 Sundance Film Festival and will be released by Roadside Attractions and Lionsgate. He also stars in Paul Schrader’s long-awaited and timely political and environmental thriller “First Reformed.” The film premiered at the 2017 Venice International Film Festival before making its way to Telluride and Toronto while garnering Hawke some of the best reviews of his career as an actor. A24 acquired the film and will release it on June 22, 2018. Hawke’s critically-acclaimed performances and collaboration with friend and filmmaker Richard Linklater in “Before Sunrise,” “Before Sunset,” and “Before Midnight” opposite Julie Delpy have become a landmark in American independent film. Hawke, Linklater and Delpy co-wrote the screenplays for “Before Sunset” and “Before Midnight” and received Academy Award and Independent Spirit Award nominations for both scripts. The trio were honored with the Louis XIII Genius Award for achievement in cinematic works for the “Before” films at the BFCA Critics Choice Awards. Hawke has collaborated with Linklater on multiple occasions, including “Fast Food Nation;” “Waking Life;” “The Newton Boys” and “Tape.” Their most recent collaboration, “Boyhood,” premiered at the 2014 Sundance Film Festival and was released by IFC that summer. Hawke starred alongside Patricia Arquette and Ellar Coltrane in the critically acclaimed and groundbreaking film that was shot intermittently over 12 years chronicling the life of a child from age 6-18. For his performance, Ethan received Academy Award, Screen Actors Guild (SAG) Award, Golden Globe Award, BAFTA Award, Film Independent Spirit Award, Critics’ Choice Film Award, and Gotham Independent Spirit Award nominations for Best Supporting Actor. Throughout his career, Hawke has starred in over 50 films including “Reality Bites;” “Good Kill;” “Predestination;” “The Purge;” “Explorers;” “White Fang;” “Gattaca;” “Great Expectations;” “Hamlet;” “What Doesn’t Kill You;” “Brooklyn’s Finest;” “Sinister;” “Maudie,” “Maggie’s Plan,” “The Magnificent Seven,” “The Phenom,” “In a Valley of Violence” “Born to Be Blue.” and “Before The Devil Knows You’re Dead.” Hawke received Academy Award and Screen Actors Guild Supporting Actor nominations for his work in Antoine Fuqua’s “Training Day,” opposite Denzel Washington. Behind the lens, Hawke made his directorial debut in 2001 with his drama “Chelsea Walls.” Additionally, he directed Josh Hamilton in the short film “Straight to One,” a story of a couple, young and in love, living in the Chelsea Hotel. He made his documentary directorial debut with “Seymour: An Introduction,” which premiered at the 2014 Telluride Film Festival and later played internationally at the Toronto International Film Festival. The project follows the life of the legendary pianist and piano teacher Seymour Bernstein. A noted writer and novelist, Hawke’s graphic novel, Indeh with illustrator Greg Ruth was published by Grand Central Publishing on June 7, 2016. Indeh captures the narrative of two nations at war who strive to find peace and forgiveness in a time of great upheaval. It debuted at #1 on the New York Times Bestseller List for Hardcover Graphic Novels. In 2015, Hawke released his first children’s book Rules for a Knight which features illustrations by his wife, Ryan Hawke. The New York Times best-seller is framed as a long-lost document, recently found and republished by Hawke, a distant relative of the knight, Sir Thomas Lemuel Hawke. In addition to his work as a novelist, in April 2009, Hawke wrote an in-depth and celebrated profile of icon Kris Kristofferson for Rolling Stone. In 2002, his second novel, Ash Wednesday, was published by Knopf and was chosen for Bloomsbury’s contemporary classics series. In 1996, Hawke wrote his first novel, The Hottest State, published by Little Brown and now in its nineteenth printing. In his sophomore directorial endeavor, Hawke adapted for the screen and directed the on-screen version of “The Hottest State” and also directed a music video for the film, featuring Lisa Loeb. At the age of twenty-one, Hawke founded the Malaparte Theater Co., which gave young artists a home to develop their craft for more than five years. The next year, in 1992, Hawke made his Broadway debut in “The Seagull.” Additionally, he has appeared in “Henry IV” alongside Richard Easton on Broadway; “Buried Child” (Steppenwolf); “Hurlyburly,” for which he earned a Lucille Lortel Award Nomination for Outstanding Lead Actor and Drama League Award Nomination for Distinguished Performance (The New Group); Tom Stoppard’s “The Coast of Utopia,” for which he was honored with a Tony Award nomination for Best Featured Actor in a Play and Drama League Award nomination for Distinguished Performance (Lincoln Center); the inaugural season of The Bridge Project’s double billings of “The Cherry Orchard” and “A Winter’s Tale,” for which Hawke received a Drama Desk Award Nomination for Outstanding Featured Actor in a Play (Brooklyn Academy of Music and The Old Vic); and “Blood From A Stone” (The New Group) which earned him a 2011 Obie Award for Performance. In 2007, Hawke made his Off-Broadway directing debut with the world premiere of Jonathan Marc Sherman’s dark comedy, “Things We Want”. In 2010, Hawke directed Sam Shepard’s “A Lie of the Mind,” for which he received a Drama Desk Nomination for Outstanding Director of a Play as well as recognition in the New York Times and The New Yorker top ten lists of the leading theatre productions in 2010. In 2012, he starred in Chekov’s “Ivanov” for the Classic Stage Company. In 2013, he directed and starred in “Clive,” a stage adaptation of Bertolt Brecht’s “Baal,” by Jonathan Marc Sherman (The New Group), and completed a successful run of Lincoln Center Theatre’s production of “Macbeth” in the title role. Hawke resides in New York and is married with four children.
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.
You are seriously asking for it, when you make the title for your musical Bad Cinderella, however the show is not bad, it’s just seriously lacking. For an Andrew Lloyd Webber musical, which is normally rich in melody, the only song that has any kind of hold is “Only You, Lonely You” sung by Prince Sebastian (Jordan Dobson or in my performance the wonderful Julio Ray). The lyrics by David Zippel and book by Emerald Fennell, adapted by Alexis Scheer are inane. It doesn’t help that the cast for the most part speaks and sings with mouths full of cotton. The orchestrations sound tinny and computerized, The lead Linedy Genao has no charisma or vocals that soar musically, instead she is rather nasal, like Bernadette Peters with a cold. Why this show is two and a half hours long is beyond me.
Grace McLean and the hunks Photo by Matthew Murphy and Evan Zimmerman
The show is based in a town called Belleville (beautiful town en Francais), that is based solely on looks and prides itself on its superficiality. The opening number starts with “Beauty Is Our Duty,” the Queen (a fabulous Grace McLean) is into her hunks including her missing son Charming (Cameron Loyal).
Christina Acosta Robinson Photo by Matthew Murphy and Evan Zimmerman)
And the fairy godmother (Christina Acosta Robinson) is a plastic surgeon who sings “Beauty Has a Price”. In a day and age, where we are suppose to see past all that, this show is politically incorrect.
Linedy Genao Photo by Matthew Murphy and Evan Zimmerman
Cinderella a Gothic, and a graffiti artist, naturally does not fit into the town’s mold of beauty, which is how she earns her nickname. Her rebel move happens when she defaces a memorial statue of Sebastian’s older brother, Prince Charming. Sebastian is more of a geek, and he and Cinderella are in the “friend zone,” since both lack communication skills in admitting their love.
Carolee Carmello Photo by Matthew Murphy and Evan Zimmerman
Sebastian is being forced by his mother, the Queen to find a wife at a ball and invites Cinderella. Cinderella’s stepmother (the always remarkable Carolee Carmello) blackmails the Queen to get one of her daughters Adele (Sami Gayle) or Marie (Morgan Higgins) the gig.
Grace McLean, Carolee Carmello Photo by Matthew Murphy and Evan Zimmerman)
McLean and Carmello are the bright spots in the show and if the show had been about these two, maybe we would actually have a show that could work. These two steal the show.
Linedy Genao, Jordan Dobson, Photo by Matthew Murphy and Evan Zimmerman
Cinderella has not one, but two what should have been show stopping numbers “I Know I Have A Heart (Because You Broke It)” and “Far Too Late,” but she does not have the vocals, the character development or the star power to carry them off.
The set and the revenge porn costumes by Gabriela Tylesova, are just over the top, with the storybook set faring much better than the over complicated flowered pastels that waltzed across the stage.
The direction by Laurence Connor is just dull and lacks oomph.
If you like buff men and Chippendale type choreography this is the show for you.
Bad Cinderella, Imperial Theatre, 249 West 45th Street.
On Friday, March 24th, the 96-year-old John Kander was given a Mayoral Proclamation from Mayor Eric Adams in celebration of the first performance of his new Broadway musical New York, New York. Following the proclamation, Lin-Manuel Miranda unveiled the sign renaming 44th Steet ‘Kander & Ebb Way. On hand was the Manhattan School of Music to performed the iconic Kander & Ebb song “New York, New York.”
New York, New York opens Wednesday, April 26, 2023 at Broadway’s St. James Theatre (246 West 44th Street).
-
Tech2 years agoHow to Take Advantage of Virtual Numbers for SMS
-
Business2 years agoEntre Institute Review – Is Jeff Lerner’s Program a Scam?
-
Entertainment2 years agoA Star is Born – Barvina Takes Entertainment World by Storm
-
Events3 months agoNew Year’s Eve Traditions In The US and Around The World
-
Film9 months agoElvis and The Mob Connection
-
Broadway2 years agoBroadway Reopening: The Theatre Listings
-
Events2 years agoThe Question On Everyone’s Mind Should Be How Did The Haitians Get To Mexico
-
Spiritual2 years agoThe History of Numerology
-
Family2 years agoWho Is Justine Ang Fonte and Why Are We Letting Her Near Children?
-
Broadway11 months agoFunny Girl Makes Julie Benko a Star