Broadway
Mommy, My Name is Lucy Barton And I’m in Need.
“Lonely was the first flavor I had tasted in my life, and it was always there,” Lucy says, “hidden inside the crevices of my mouth, reminding me.” And in those words a structure of understanding and underlying personal fear is imbedded in the stage adaptation of Author Elizabeth Strout’s (Olive Kitteridge) achingly simple but defiant My Name is Lucy Barton. Adapted by the detailed Rona Munro (Bold Girls, The James Plays), the precise entrance of the lead makes it clear that this one act one woman play is going to dive into family dysfunction from a foggy memory stance. Framed on the strong presence and dynamic voice of star Laura Linney (MTC’s The Little Foxes), her character starts and shifts, as memory often does, from one vision to another, beautifully articulating and bring forth the majesty of the cornfield light of Illinois, while also teasing out the painful memories of abuse and neglect.
As directed with clear intention by Richard Eyre (Bristol Old Vic/BAM’s A Long Day’s Journey Into Night), the intimate play delivers the disconnected pain of destruction with gentle directive intent. It seeps inside, although at time it meanders almost a bit too much from present family dynamics, stopping in on AIDS memories of “gaunt and bony men” walking past her Greenwich Village stoop in the 1980’s, back to one particular moment of locked up fear and abandonment. Some moments feel lived in, while others feel designed for affect, but the main familial trauma doesn’t get etched enough in detail and circumstance. It’s clear her childhood is damaged and torn, but the unsentimental vagueness is both a curse to the emotionality and a blessing to the humanity and authenticity of personal pain.
The story that unfolds is centered around a hospital bed and an arm chair, where Lucy spends nine weeks in uncertainty of her own survival. The scenic and costume design by Bob Crowley (West End/Broadway’s The Inheritance), with a concise sound design by John Leonard (Almeida’s Little Eyolf), sets the right tone, but the overly fussy shape shifting lighting by Peter Mumford (West End/Broadway’s The Ferryman) falters in a way that leaves Linney’s Lucy bouncing in and out of light and time. The simplicity and straightforwardness of the language would have been a good platform to emulate in this arena, but there is not enough faith in that component, as well as the video design by Luke Halls (Broadway’s Sea Wall/A Life), to let the focus lie where it truly belongs, on the shoulders of the play’s magnificently talented star and her ability to draw us through her story without effects.
Linny, with her clarity and rhythm, pulls us into her story, particularly when she wakes to find her mother, who she has not seen in far too many years, sitting in that armchair in the hospital room watching over her. Where will this go? The differing pathways are endless, and through Strout’s dark and familiar words describing all things small and ruthless, many roads are taken all at the same time. It’s intricate and complex, as there’s a desperate need of attachment and acknowledgement from within Lucy, most which will go unanswered or unheard. But there is something of a different sort; an engagement through gossipy story-telling, a sharp diligence of being present, and the clearness of a tortured look. They all give her dynamics to hold onto in those nine weeks that leaves her wanting and waiting for things that won’t come. The play builds strongly and quietly to the top of the hill., but it’s not the highest mountain, nor the sharpest of cliffs. The grade, though, is clear. Lucy Barton ends her story with precision, but sadly strolls forward for about two minutes too long, ending on an overly wordy moment of non-clarity that seems unworthy of the rest.
As we head into the holiday season, The Algonquin Hotel’s December event lineup is open to both hotel guests and New York City locals. The hotel will spread holiday cheer with a variety of festive performances, cocktails, and experiences including:
- Cocoa and Carols Happy Hour: Daily, 5-8PM, Every evening this December, all are invited to enjoy Specialty Cocoa while Christmas carols chime at the Blue Bar. Drinks will include Mexican Hot Chocolate spiked with mezcal
- KT Sullivan Cabaret: December 5th, 12th and 19th, Sullivan will perform her iconic Christmas Cabaret. As noted by The New York Times, Sullivan is a thrilling Off-Broadway performer with over eight published albums
- Rocco Dellaneve’s Rat Pack Christmas: December 7th, 14th and 21st, Rocco Dellaneve will perform iconic songs from the Rat Pack Christmas album with special inclusions of Santa with Sinatra, Rocco of the Snow, Rudolph and the Rat pack
- The Serafina’s and Broadway Vocalists: December 8th, 15th and 22nd, enjoy the high kicking – precision line dancing Christmas tradition around The Algonquin tree. The Serafina’s will be available for pictures and autographs from 6pm to 7pm, followed by special Broadway vocalists
A portion of proceeds from all events will be donated to Toys for Tots.
Beyond the December events, The Algonquin Hotel is located in a prime position nestled in the heart of Times Square and Fifth Avenue, making it the perfect launchpad for a New York City holiday experience. The hotel is a historical jewel that emphasizes the importance of making unique, storied experiences. Since its opening in 1902, The Algonquin Hotel is famous for its timeless style and desire to honor the literary and cultural elite. The distinguished Round Table Restaurant and Blue Bar offer tasteful dining inclusions and curated cocktails that are sure to excite everyone.
Photo credit: The Algonquin Hotel, Autograph Collection
2o days to go! Every year people panic to find the perfect gift. We at T2C have been collecting idea’s all year long to bring you the perfect gift guide at all price levels. When you’re at the end of your rope trying to find the perfect Christmas present this year, come to this guide for some great suggestions.
Chita & Patrick Pacheco at Drama Book Shop event May 15, 2023 Photo by Merle Frimark
There are a lot of books out there this year but we highly recommend Chita: A Memoir , the critically-acclaimed book is written by the legendary Broadway icon Chita Rivera with arts journalist Patrick Pacheco. Chita takes fans behind-the-scenes of all her shows and cabaret acts, she shares candid stories of her many colleagues, friends, and lovers. She speaks with empathy and hindsight of her deep associations with complicated geniuses like Fosse and Robbins, as well as with the mega-talent Liza Minnelli, with whom she co-starred in The Rink. She openly discusses her affair with Sammy Davis, Jr. as well as her marriage to Tony Mordente and her subsequent off-the-radar relationships. Chita revisits the terrible car accident that threatened to end her career as a dancer forever. Center stage to Chita’s story are John Kander and Fred Ebb, the songwriters and dear friends indelibly tied to her career through some of her most enduring work: Chicago, The Rink, Kiss of the Spider Woman, and The Visit.
Chita’s love of performing began as a child in Washington, D.C., when her mother enrolled her in a local ballet school to channel her boundless energy. Still a teenager, she moved to New York to attend the School of American Ballet after an audition for George Balanchine himself and winning a scholarship. But Broadway beckoned, and by twenty she was appearing in the choruses of Golden Age shows like Guys and Dolls and Can-Can. In the latter, she received special encouragement from its star Gwen Verdon, forging a personal and professional friendship that would help shape her career. The groundbreaking West Side Story brought her into the orbit of Leonard Bernstein, Jerome Robbins, Arthur Laurents, Hal Prince, and Stephen Sondheim. After Bye Bye Birdie further burnished her rising star, she reunited with Verdon and her then-husband Bob Fosse to work on the film version of Sweet Charity and the celebrated original Broadway production of Chicago.
Chita: A Memoir was published in English and Spanish and the English audio version of the Memoir was recorded by Chita. A Spanish audio version is also available.
“Chita Rivera blazed a trail where none existed so the rest of us could see a path forward. She has been part of some of the greatest musicals in the history of the form, from Anita in the trailblazing West Side Story through Claire Zachanassian in the underrated masterpiece The Visit, over 60 years later. She is a Puerto Rican Broadway icon and the original ‘triple threat.’ We’re so lucky to be alive in the same timeline as Chita Rivera.” — Lin-Manuel Miranda.
“A frank and fascinating memoir from one of the truly great artists of the American Theater. Lots of stories … Lots of insight … and quite a few caustic statements from Chita’s alter ego, Dolores. An illuminating history and a guaranteed pleasure!” — John Kander
Broadway legend and national treasure Chita Rivera, multi-Tony Award winner, Kennedy Center honoree, and recipient of the Presidential Medal of Freedom – has taken no prisoners on stage or screen for seven decades. From her trailblazing performance as the original Anita in West Side Story—for which she tapped her own Puerto Rican roots—to her haunting 2015 star turn in The Visit. Chita has proven to be much more than just a captivating dancer, singer, and actress beloved by audiences and casts alike. In her equally captivating and one-of-a-kind memoir, Written with Patrick Pacheco, the woman born Dolores Conchita Figueroa del Rivero shares an incomparable life, both on stage and behind the curtain.
By the way this Memoir has won a Gold Medal for “Best Autobiography – English” at the 2023 International Latino Book Awards. https://www.latinobookawards.org/
Click here to buy your copy.
Here is the amazing cast of Spamalot. Christopher Fitzgerald as Patsy, James Monroe Iglehart as King Arthur, Leslie Rodriguez Kritzer as The Lady of the Lake, Ethan Slater as The Historian/Prince Herbert, Jimmy Smagula as Sir Bedevere, Michael Urie as Sir Robin, Nik Walker as Sir Galahad andTaran Killam as Lancelot.
I was so inspired I drew the whole cast.
To read T2C’s review click here.
Art
Ahead of the Broadway Opening of Lempicka The Longacre Theatre Is Showcasing Art Work By Tamara de Lempicka
The Longacre Theatre (220 W 48th St.), soon-to-be home of the sweeping new musical, Lempicka, is showcasing a curated selection of renowned artist Tamara de Lempicka’s most famous works. Eschewing traditional theatrical front-of-house advertising, the Longacre’s façade now boasts prints, creating a museum-quality exhibition right in the heart of Times Square. The musical opens on Broadway on April 14, 2024 at the same venue.
The Longacre’s outdoor exhibition includes works of Self Portrait (Tamara in a Green Bugatti) (1929), Young Girl in Green (1927), Nu Adossé I (1925), The Red Tunic (1927), The Blue Scarf (1930), The Green Turban (1930), Portrait of Marjorie Ferry (1932), Portrait of Ira P. (1930), Portrait of Romana de la Salle (1928), and Adam and Eve (1932).
Starring Eden Espinosa and directed by Tony Award winner Rachel Chavkin, Lempicka features book, lyrics, and original concept by Carson Kreitzer, book and music by Matt Gould, and choreography by Raja Feather Kelly.
Spanning decades of political and personal turmoil and told through a thrilling, pop-infused score, Lempicka boldly explores the contradictions of a world in crisis, a woman ahead of her era, and an artist whose time has finally come.
Young Girl in Green painted by Tamara de Lempicka (1927). Oil on plywood.