“Just as there is nothing more boring than boredom, nothing more exciting than excitement, nothing more lovable than love or hateful than hatred, so is there nothing that arouses interest so much as interest. Interesting people are interested people, and an enthusiasm—be it as thankless as birdwatching or as bizarre as philately—marks out the enthusiast as a source of curious learning and a person with a mind that glows.”
None of my closest friends in Manhattan knew me when: we didn’t meet until after I’d figured out who I was and what I wanted to become. On the other hand, the friends of our youth present their own problems. They are part of the train of memories that we all pull behind us, the one that grows longer with each passing day, and for that reason harder to pull….
“I’d been having a little too much talk with people whose business was talking. It was good to sit at the counter of a working-class restaurant where men spoke when they wanted something, or simply to kid the waitress.”
The thirty-seventh episode of Three on the Aisle, the (usually) twice-monthly podcast in which Peter Marks, Elisabeth Vincentelli, and I talk about theater in America, is now available on line for listening or downloading.
Here’s American Theatre’s “official” summary of the proceedings:
Twice a month, Terry Teachout of the Wall Street Journal; Elisabeth Vincentelli, contributor to The New York Times and The New Yorker; and Peter Marks of the Washington Post get together to talk about what’s going on in the American theatre.
And they’re back from summer vacation! Well, at least two of them are (Elisabeth is still in Europe). But Terry and Peter are back to discuss the shows they’re looking forward to in the coming season and some they’ve seen during their Three on the Aisle hiatus, then they answer questions about translating plays to film and the art of theatre criticism….
To listen to or download this episode, read more about it, or subscribe to Three on the Aisle, go here.
In case you’ve missed any previous episodes, you’ll find them all here.
In today’s Wall Street Journal I review a Baltimore revival of David Auburn’s Proof. Here’s an excerpt.
* * *
David Auburn is having an excellent year. His new stage adaptation of Saul Bellow’s “The Adventures of Augie March” opened to universal acclaim at Chicago’s Court Theatre in May. Two months later, he directed an important revival of Thornton Wilder’s “The Skin of Our Teeth” for Massachusetts’ Berkshire Theatre Group. Now “Proof,” Mr. Auburn’s 2000 drama about a young mathematician who fears for her sanity, is being presented by Baltimore’s Everyman Theatre, a regional company deserving of wider recognition. “Proof” hasn’t returned to Broadway since it won a Pulitzer Prize in 2001 and wrapped up a 917-performance run two years later, and it happens that I missed the original production, so I decided to drive down to Baltimore and see what I’d missed. Quite a bit, as it turns out: “Proof” is a superior piece of theatrical work, and Paige Hernandez’s finely cast staging reveals it to be timely as well.
Catherine (Katie Kleiger), the deeply unhappy 25-year-old central character of “Proof,” dropped out of college to take care of Robert (Bruce Randolph Nelson), her father and one of the foremost mathematicians of his generation, whose career came to an abrupt halt when he fell victim to mental illness. Now Robert is dead, Catherine is trying to figure out how to restart her own thwarted life, and Claire (Megan Anderson), her older sister, who has come back to Chicago for their father’s funeral, fears that Catherine may suffer from the same disease. Enter Hal (Jeremy Keith Hunter), one of Robert’s protégés, who is sifting through his accumulated papers and finds what may be a major piece of unpublished work—one that Robert apparently completed in secret during his illness…or did he?
What we have here, in short, is an intellectual whodunit, one that recalls Tom Stoppard’s “Arcadia” without aspiring to Mr. Stoppard’s flashy loop-the-loopery….
Bill “Bojangles” Robinson, Jeni LeGon, and Fats Waller perform “I’m Livin’ in a Great Big Way,” by Dorothy Fields and Jimmy McHugh, in Hooray for Love, directed by Walter Lang and released in 1935:
(This is the latest in a series of arts- and history-related videos that appear in this space each Monday, Wednesday, and Friday)
