Producer Scott Rudin today announced that two-time Academy Award winning actress Glenda Jackson and three-time Emmy Award winner and 2017 Tony Award nominee Laurie Metcalf will star in the Broadway premiere of Edward Albee’s Pulitzer Prize-winning masterpiece Three Tall Women next spring, in a production directed by two-time Tony Award®-winner Joe Mantello. Beginning preview performances on Tuesday. February 27, 2018, Three Tall Women will have an official opening night on Thursday, March 29.
This will mark Ms. Jackson’s long-awaited return to Broadway after a 30-year absence, which comes on the heels of her historic, sold-out run in King Lear in London. Her first Oscar came in 1970 with Ken Russell’s film Women in Love. From there, she went on to star in film classics such as Sunday Bloody Sunday and A Touch of Class, for which she was awarded her second Academy Award. In 1971, Ms. Jackson starred as Queen Elizabeth I in the BBC serial Elizabeth R, a role for which she was awarded her two Primetime Emmy Awards. Glenda Jackson began her career on the stage as a member of the Royal Shakespeare Company. She made her Broadway debut in 1965 in The Persecution and Assassination of Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade, and went on to star on Broadway in Rose (1981), Strange Interlude (1985), and Macbeth (1988). She has received a Tony Award nomination for every one of her Broadway performances. Most recently, she caused an international sensation in the title role in the Shakespeare’s King Lear at the Old Vic in 2016, for which she received an Olivier nomination and a Critics Circle Award for Best Shakespearean Performance. In addition to her legendary acting career, Ms. Jackson spent 23 years as a Member of Parliament.
Ms. Metcalf is currently starring on Broadway in A Doll’s House, Part 2 as Nora Helmer—a role that has earned her critical raves and a Tony Award nomination. She is an original member of Steppenwolf Theatre Company in Chicago. Including her current nomination for A Doll’s House, Part 2, Ms. Metcalf has been nominated for four Tony Awards (November, The Other Place, and Misery). She received three Emmy Awards for her work on the television series “Roseanne.” Her film roles include Desperately Seeking Susan, Leaving Las Vegas, Uncle Buck, JFK, Internal Affairs, and the Toy Story series.
Three Tall Women is a beautifully-wrought portrait of a woman in life’s final act and Edward’s Albee’s most personal work. In addition to winning the Pulitzer Prize for Drama in 1994, it also received the New York Drama Critics Circle, Lucille Lortel, and Outer Critics Circle awards for Best Play.
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.
Relevantly Tuneless Fairytale Bad Cinderella Isn’t Bad, It’s Forgettable
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.
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).
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.
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.
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.
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.
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.
Did You Know There Is A Kander & Ebb Way?
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 ago
How to Take Advantage of Virtual Numbers for SMS
Business2 years ago
Entre Institute Review – Is Jeff Lerner’s Program a Scam?
Entertainment2 years ago
A Star is Born – Barvina Takes Entertainment World by Storm
Events3 months ago
New Year’s Eve Traditions In The US and Around The World
Film9 months ago
Elvis and The Mob Connection
Broadway2 years ago
Broadway Reopening: The Theatre Listings
Events2 years ago
The Question On Everyone’s Mind Should Be How Did The Haitians Get To Mexico
Spiritual2 years ago
The History of Numerology
Family2 years ago
Who Is Justine Ang Fonte and Why Are We Letting Her Near Children?
Broadway11 months ago
Funny Girl Makes Julie Benko a Star