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About Last Night

Terry Teachout on the arts in New York City

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Sushi for one

November 23, 2015 by Terry Teachout

Bridget-Jones-Diary-LI have two good friends who are singletons and claim to actively prefer living alone. It’s hard for me to believe that this avowed preference is anything more than a sign that they’ve yet to meet Mister or Miss Right—which I’m well aware is nothing more than a complete failure of imagination on my part. Even though I’m a critic by trade, I do my best not to take it for granted that my own personal preferences are universal goods. My guess, however, is that most of us, myself included, are in the habit of assuming reflexively that our friends, deep down inside, share our feelings about most things, and I further suspect that no amount of evidence to the contrary is capable of extirpating this self-evidently wrongheaded notion.

My own situation is, of course, entirely different. I spent a lengthy stretch as a singleton before Mrs. T and I met, learning in the process that I hate to live alone. To be sure, necessity forced me to figure out how to do so, to the point of learning how to take vacations by myself. By the end of that time, though, I was in no doubt of my inability to be truly happy without a compatible companion. When I found one, I blossomed.

point-reyes-lighthouse-walk-hikeIt happens that Mrs. T and I were forty-nine years old and fairly set in our ways when we got together. As a result, we took it for granted that we would need to build a certain amount of separation into our marriage, and life duly obliged us by demanding that we spend quite a bit of time apart. A decade later, the desire to “take time off” from one another has long since ebbed, and of late it has dried up completely. “We’ll appreciate each other even more when we finally get back together,” we say at the beginning of a temporary separation—but we both know better. All things being equal, we always prefer being together (if not necessarily in the same room) to being apart. For us, there is no longer any upside to separation, however brief: it is, as Dr. Johnson said of human life, a state in which much is to be endured, and little to be enjoyed.

Not that our companionship doesn’t encompass its share of disagreements and difficulties, but they don’t matter, for we’ve learned the lesson that Stephen Sondheim taught so well in Company:

Somebody crowd me with love,
Somebody force me to care,
Somebody make me come through,
I’ll always be there
As frightened as you
To help us survive
Being alive.

ISOLATIONCELL-185-660x989The press of work recently forced me to spend a night alone in New York while Mrs. T was at our place in rural Connecticut. I wrote all day, never once setting foot outside the apartment, and so was taken by surprise when I looked up from my laptop and saw that the sun had set.

When I went downstairs to pick up the mail, I was no less surprised to notice that the lobby of our building was filled with the comforting odor of other people’s home cooking. Would it smell as good to me if I’d done the cooking? I asked myself, thinking of my mother’s lone failing as a parent, which is that she neglected to teach me how to cook for myself, much less anyone else. I did make a token effort to learn during my years as a singleton, assisted by three kindly women friends who took it upon themselves one night to show me how to prepare dinner for four. Needless to say, they did most of the work that evening, and having failed to follow up on the lesson, I found myself at a loss. So I ordered sushi—for one.

No sooner did my mother come to mind than I found myself missing her intensely. For years I telephoned her every night or two, usually calling from the back seat of my cab whenever I was en route to Broadway to see a show. While I didn’t get into the habit of calling her regularly until my father died, the thought had already crossed my mind that I would have loved to tell him what it felt like to share a stage with Nancy and Tina Sinatra in Beverly Hills. He died in 1998, too soon to know about most of my great adventures, the greatest of which was meeting Mrs. T.

Now I’ve gotten into the habit of calling her from the cab en route to Broadway whenever we’re apart. Alas, there was no show that night, so I ate my sushi, looked at the art on the walls, listened to Virgil Thomson’s “Capital, Capitals,” watched Kiss of Death on TV, and read myself to sleep with the second volume of Emlyn Williams’ autobiography. Such is the homely pattern into which my nights as a temporary singleton typically fit. Yes, I manage—but I’m able to do so mainly because I know that the need for self-management will come to an end sooner rather than later. May it ever be so.

* * *

From John Doyle’s 2006 Broadway revival of Company, Raul Esparza and the ensemble perform Stephen Sondheim’s “Being Alive”:

Just because: Sonny Rollins plays Duke Ellington

November 23, 2015 by Terry Teachout

TV CAMERASonny Rollins plays Duke Ellington’s “It Don’t Mean a Thing” on Swedish TV in 1959. Henry Grimes is the bassist, Joe Harris the drummer:

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

Almanac: Rebecca West on men

November 23, 2015 by Terry Teachout

INK BOTTLE“I’ve never gone anywhere where the men have come up to my infantile expectations. I always have gone through life constantly being surprised by the extreme, marvelous qualities of a small minority of men. But I can’t see the rest of them. They seem awful rubbish.”

Rebecca West, Paris Review interview (Summer 1981)

Bedtime story (complete with snores)

November 20, 2015 by Terry Teachout

In today’s Wall Street Journal I review two New York productions, the Broadway premiere of Misery and an off-Broadway revival of Incident at Vichy. Here’s an excerpt.

* * *

Now that the commodity musical is here to stay, the obvious next step is the commodity play. That’s “Misery” all over. Adapted by William Goldman from his screenplay for the 1990 film version of Stephen King’s best-selling novel, it’s strictly for those who liked the movie so much that they’re willing to pay to see it re-enacted onstage—so long as the cast includes a screen star. Enter Bruce Willis, who hasn’t set foot on a New York stage for three decades but needs no introduction to the kind of person who goes to Broadway plays solely to see stars in the flesh. Nor is there any other reason to go to “Misery,” which has nothing else to offer save for the chance to get Mr. Willis’ autograph after the show.

CT2_vXJWwAE1d8_.jpg-largeYou know the plot: Mr. Willis plays Paul, a romance novelist who crashes his car in Colorado and awakes to find himself laid up in the spare bedroom of Annie (Laurie Metcalf), a middle-aged nurse who claims to be his “number-one fan.” Not only are both of his legs broken, but Annie turns out to be crazy….

While the film of “Misery” simplifies the novel, it succeeds spectacularly well in scaring the audience, in large part because of Kathy Bates’ Oscar-winning performance as Annie, which is both creepy and (here’s the key) completely plausible. Not so “Misery: The Play,” which is as scary as a lukewarm cup of Nesquik. Two big things are wrong with it: Mr. Willis never seems even slightly frightened, and Ms. Metcalf, though she leaves you in no doubt of her craziness, isn’t pitiful….

Arthur Miller’s “Incident at Vichy,” which was last performed in New York six years ago and hasn’t been seen on Broadway since the original production closed there in 1965, is a creakily earnest one-act play about a group of 10 Frenchmen, most of them Jewish, who are ordered by the Vichy police to report to “a place of detention” (Miller’s words) for unknown reasons. Ninety minutes later…but you can figure the rest out for yourself. While waiting to learn their unsurprising fate, they make speeches, some of them craven, others noble, and all written in the well-known Miller manner…

Michael Wilson, lately of “The Trip to Bountiful,” ratchets up the dramatic tension much higher than you’d think it could possibly go, and his ensemble cast is superior…

* * *

To read my review of Misery, go here.

To read my review of Incident at Vichy, go here

Is Fawlty Towers fascist?

November 20, 2015 by Terry Teachout

In today’s Wall Street Journal “Sightings” column I offer a transatlantic perspective on the racial-sensitivity imbroglio at Yale. Here’s an excerpt.

* * *

Erika Christakis, a lecturer at Yale’s Child Study Center who doubles as associate master of the university’s Silliman College, called forth the demons last month when she replied to a mass e-mail from Yale’s Intercultural Affairs Council urging students not to wear “culturally unaware or insensitive” costumes on Halloween. If you keep up with the safe-spaces-and-trigger-warnings movement, you know that the only acceptable response to such a memo is in the abject affirmative. Instead, Ms. Christakis asked this seemingly reasonable question: “Is there no room anymore for a child or young person to be a little bit obnoxious…a little bit inappropriate or provocative or, yes, offensive?” This set off an explosion of student outrage, followed by a groveling apology from Yale’s president….

article-0-1A6B460C00000578-745_634x393Around the same time that Yale caved in to the grievance merchants, the British Broadcasting Corporation announced that it will make 10,000 hours of TV programming from the ‘70s available for online downloading by residents of the United Kingdom—including a number of once-popular comedies that network executives long ago banned from the airwaves as racially insensitive. One of them, believe it or not, is an episode of John Cleese’s “Fawlty Towers,” the funniest sitcom ever made, that the BBC will no longer broadcast in unexpurgated form because it puts “insensitive” racial epithets in the mouth of…yes…a pompous old bigot.

I tremble to think what the BBC would do with “All in the Family” videos. Torch them, probably. Nevertheless, the network has now decided to allow similar shows of its own to be purchased online, accompanied by warning labels proclaiming each one to be “an un-PC product of its time but remains a cherished piece of vintage comedy.” Note, by the way, that political correctness is a good thing in the BBC’s Orwellian lexicon. Even so, it is still deigning to let individual viewers choose (for now) what they want to watch in the privacy of their own homes.

The significance of this approach ought to be more obvious than it is nowadays: It acknowledges that what’s offensive to some may well be innocuous to others. To suppress a work merely because certain viewers find it “insensitive” is the first step down a Teflon-coated slope that can lead straight to full-blown censorship—so why not leave to the individual the choice of whether to consume it?…

* * *

Read the whole thing here.

Replay: George Balanchine’s Stars and Stripes

November 20, 2015 by Terry Teachout

TV CAMERAThe pas de deux and finale from George Balanchine’s Stars and Stripes, danced by Melissa Hayden, Jacques d’Amboise, and New York City Ballet. The music is by John Philip Sousa, arranged by Hershy Kay. This performance was originally telecast on NBC’s Bell Telephone Hour on February 10, 1959:

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

Almanac: Henri-Frédéric Amiel on melancholy

November 20, 2015 by Terry Teachout

INK BOTTLE“Melancholy is at the bottom of everything, just as at the end of all rivers is the sea.”

Henri-Frédéric Amiel, Journal intime (trans. Mrs. Humphry Ward)

So you want to see a show?

November 19, 2015 by Terry Teachout

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.

BROADWAY:
• An American in Paris (musical, G, too complex for small children, reviewed here)
• Fool for Love (drama, R, closes Dec. 13, reviewed here)
• Fun Home (serious musical, PG-13, most performances sold out last week, reviewed here)
• A Gentleman’s Guide to Love & Murder (musical, PG-13, closes Jan. 17, reviewed here)
• Hamilton (musical, PG-13, all performances sold out last week, reviewed here)
• Hand to God (black comedy, X, absolutely not for children or prudish adults, closes Jan. 3, reviewed here)
• The King and I (musical, G, perfect for children with well-developed attention spans, reviewed here)
• Matilda (musical, G, reviewed here)
• Les Misérables (musical, G, too long and complicated for young children, reviewed here)
• On Your Feet! (jukebox musical, G, nearly all performances sold out last week, reviewed here)
• Spring Awakening (musical, PG-13/R, closes Jan. 24, reviewed here)
• Sylvia (comedy, PG-13, closes Jan. 24, reviewed here)

OFF BROADWAY:
• Alfred Hitchcock’s The 39 Steps (comedy, G, ideal for bright children, remounting of Broadway production, closing Jan. 3, original production reviewed here)
• The Fantasticks (musical, G, suitable for children capable of enjoying a love story, reviewed here)
• The Flick (serious comedy, PG-13, too long for young people with limited attention spans, reviewed here)

6.214538CLOSING NEXT WEEK OFF BROADWAY:
• Eclipsed (drama, PG-13, closes Nov. 29, reviewed here)

CLOSING SATURDAY IN BOSTON:
• Saturday Night/Sunday Morning (drama, PG-13, reviewed here)

CLOSING SUNDAY IN CHICAGO:
• The Price (drama, PG-13, reviewed here)

CLOSING SUNDAY OFF BROADWAY:
• First Daughter Suite (serious musical, PG-13, reviewed here)

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Terry Teachout

Terry Teachout, who writes this blog, is the drama critic of The Wall Street Journal and the critic-at-large of Commentary. In addition to his Wall Street Journal drama column and his monthly essays … [Read More...]

About

About “About Last Night”

This is a blog about the arts in New York City and the rest of America, written by Terry Teachout. Terry is a critic, biographer, playwright, director, librettist, recovering musician, and inveterate blogger. In addition to theater, he writes here and elsewhere about all of the other arts--books, … [Read More...]

About My Plays and Opera Libretti

Billy and Me, my second play, received its world premiere on December 8, 2017, at Palm Beach Dramaworks in West Palm Beach, Fla. Satchmo at the Waldorf, my first play, closed off Broadway at the Westside Theatre on June 29, 2014, after 18 previews and 136 performances. That production was directed … [Read More...]

About My Podcast

Peter Marks, Elisabeth Vincentelli, and I are the panelists on “Three on the Aisle,” a bimonthly podcast from New York about theater in America. … [Read More...]

About My Books

My latest book is Duke: A Life of Duke Ellington, published in 2013 by Gotham Books in the U.S. and the Robson Press in England and now available in paperback. I have also written biographies of Louis Armstrong, George Balanchine, and H.L. Mencken, as well as a volume of my collected essays called A … [Read More...]

The Long Goodbye

To read all three installments of "The Long Goodbye," a multi-part posting about the experience of watching a parent die, go here. … [Read More...]

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