Archives for September 2010

Here’s my list of recommended Broadway, off-Broadway, and out-of-town shows, updated weekly. In all cases, I gave these shows favorable reviews (if sometimes qualifiedly so) in The Wall Street Journal when they opened. For more information, click on the title.

Warning: Broadway shows marked with an asterisk were sold out, or nearly so, last week.

BROADWAY:

• La Cage aux Folles (musical, PG-13, adult subject matter, reviewed here)

• Fela! (musical, PG-13, adult subject matter, closes Jan. 2, reviewed here)

• Million Dollar Quartet (jukebox musical, G, reviewed here)

OFF BROADWAY:

• Alfred Hitchcock’s The 39 Steps (comedy, G, suitable for bright children, original Broadway production reviewed here)

• Avenue Q (musical, R, adult subject matter and one show-stopping scene of puppet-on-puppet sex, reviewed here)

• The Fantasticks (musical, G, suitable for children capable of enjoying a love story, reviewed here)

• The Little Foxes (drama, G, unsuitable for children, brilliantly acted but tritely staged, closes Oct. 31, reviewed here)

IN ASHLAND, OREGON:

• Hamlet (Shakespeare, PG-13, closes Oct. 30, reviewed here)

• Ruined (drama, PG-13/R, violence and adult subject matter, closes Oct. 31, reviewed here)

• She Loves Me (musical, G, suitable for children capable of enjoying a love story, closes Oct. 30, reviewed here)

CLOSING SOON IN LOS ANGELES:

• The Glass Menagerie (drama, G, West Coast remounting of original New Haven/off-Broadway production, too dark for children, closes Oct. 17, off-Broadway run reviewed here)

• Ruined (drama, PG-13/R, West Coast remounting of original Chicago/off-Broadway production, violence and adult subject matter, closes Oct. 17, off-Broadway run reviewed here)

CLOSING SATURDAY IN SPRING GREEN, WISCONSIN:

• Major Barbara (serious comedy, G, too complicated for children, reviewed here)

“The newspaper is the natural enemy of the book, as the whore is of the decent woman.”
Edmond and Jules de Goncourt, journal entry, July 1858

Ginette Neveu plays the coda of Ernest Chausson’s Poème:

(This is the latest in a weekly series of arts-related videos that appear in this space each Wednesday.)

“It is uplifting to lose one’s faith in a reality which looks the way it is described in a newspaper.”
Karl Kraus, “In Praise of a Topsy-Turvy Lifestyle”

I’ve had some sharp things to say in the past about the MacArthur Foundation’s “genius grants,” so I am entirely delighted to report that David Cromer, the greatest American stage director of his generation, and David Simon, the creator of Homicide, The Wire, and Treme, have both received MacArthur fellowships.
I’m especially pleased about Cromer because of the role that my Wall Street Journal drama columns, in particular this 2008 piece, have played in bringing his work to the attention of a national audience. So far as I know, I’m the first person ever to have described him as a “genius” in print, in my review of his extraordinary production of Our Town. Of all the useful things that a critic can hope to do in the course of his career, few are more gratifying than ringing the bell of acclaim for an artist deserving of much wider recognition, then looking on from the sidelines as he receives it.
I am enormously proud of having written with enthusiasm in The Wall Street Journal about Diana Krall and Maria Schneider long before they became widely known. Now it is my privilege to add David Cromer to that list. I hope his name won’t be the last one on it.

“News reports stand up as people, and people wither into editorials. Clichés walk around on two legs while men are having theirs shot off.”
Karl Kraus, The Last Days of Mankind

I’ll be traveling for the next couple of weeks. Watch this space for occasional reports, plus the usual almanac entries, videos, and theater-related postings. CAAF and Our Girl have also promised to show their faces.
Next stop, LaGuardia Airport!

“Newspapers are unable, seemingly, to discriminate between a bicycle accident and the collapse of civilisation.”
George Bernard Shaw, preface to Too True to Be Good

In today’s Wall Street Journal I report from Boston on the Huntington Theatre Company’s new revival of William Inge’s Bus Stop, about which I had sharply mixed feelings. Here’s an excerpt.
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Boston’s Huntington Theatre Company has revived “Bus Stop” in a production staged by Nicholas Martin, whose 2007 Huntington revival of Noël Coward’s “Present Laughter” moved to Broadway last season. I doubt that his “Bus Stop” will meet with the same good fortune, not because it doesn’t work on its own terms but because Mr. Martin’s staging, though undeniably effective, is false to the play’s nature. Inge called “Bus Stop” a comedy, and it contains more than enough funny moments to justify the label. But “Bus Stop” is a serious comedy, one in which pathos is never far from the surface, and Mr. Martin has chosen to direct the first two acts for laughter instead of truth. The result is a production that too often encourages the audience to laugh at the characters instead of with them, which diminishes both the characters and the play.
If you’ve never seen “Bus Stop,” it’s a “Grand Hotel”-like tale of a group of travelers who get caught in a blizzard and are forced to spend the night holed up in a small-town diner somewhere in Kansas. As they interact with three of the town’s residents and with one another, we gradually get to know the characters, all of whom are looking for love. One of them, Bo (Noah Bean), is a sexually inexperienced young cowboy who has fallen for Cherie (Nicole Rodenburg), a shopworn nightclub singer, and is trying to persuade her to come home to Montana with him. Also on hand are Virgil (Stephen Lee Anderson), Bo’s longtime sidekick; Grace (Karen MacDonald), the hard-bitten owner of the diner, who longs to lure the bus driver (Will LeBow) into the sack; Elma (Ronete Levenson), a bright but innocent teenager who waits tables for Grace and catches the eye of Dr. Lyman (Henry Stram), a Shakespeare-spouting drunk with an ugly penchant for chasing underage girls; and Will (Adam LeFevre), the town sheriff, a quiet gent who is tougher than he looks.
We are, in short, deep in the heart of Cliché Country–except that Inge writes about his eight stock-company characters with a compassionate and comprehending sympathy that makes each one seem as real as your next-door neighbor. This is where Mr. Martin goes wrong, for he has all too clearly encouraged the key members of the cast to overplay their parts, opting for broad caricature instead of laconic understatement (except in the last act, where the actors finally get in tune with the play and bring it to a satisfying close). It’s as though he doesn’t trust the audience to know when to be amused….
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Read the whole thing here.