“When the situation was manageable it was neglected, and now that it is thoroughly out of hand, we apply too late the remedies which then might have effected a cure. There is nothing new in the story. It is as old as the Sibylline books. It falls into that long dismal catalogue of the fruitlessness of experience and the confirmed unteachability of mankind. Want of foresight, unwillingness to act when action would be simple and effective, lack of clear thinking, confusion of counsel until the emergency comes, until self-preservation strikes its jarring gong–these are the features which constitute the endless repetition of history.”
Winston Churchill, speech in the House of Commons, 1935
TT: Good times, bad times
I took another swing through New England last weekend to catch a pair of shows about marriage that couldn’t be more different, Westport Country Playhouse’s I Do! I Do! and Barrington Stage Company’s Absurd Person Singular. Here’s an excerpt from my review in today’s Wall Street Journal.
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Is marriage a bed of roses–or of nails? Your answer to that question may depend on whether you choose to see Westport Country Playhouse’s sunny revival of “I Do! I Do!” or Barrington Stage Company’s sardonic production of “Absurd Person Singular.” Both shows are formally innovative comedies of marriage that were hugely successful when first produced on Broadway. Beyond that, though, they have next to nothing in common save for being very, very good.
“I Do! I Do!” is a two-character musical by Tom Jones and Harvey Schmidt, the “Fantasticks” guys, based on “The Fourposter,” Jan de Hartog’s ever-popular 1951 play about a half-century in the life of a successful marriage. The show is close to plotless, with each song offering a snapshot of an archetypical marital situation: the honeymoon, the first child, the first quarrel….
Kate Baldwin, whose performance in last season’s revival of “Finian’s Rainbow” established her as one of Broadway’s musical-comedy queens, is an absolute knockout as the wife of “I Do! I Do!” If Mary Martin was any better than this…well, let’s just say that I don’t see how she could have been. Not only is Ms. Baldwin a charismatic actor, but her concert-quality singing is as good as you’re ever going to hear in a musical….
Alan Ayckbourn, England’s most popular playwright, rang the bell in America in 1974 with “Absurd Person Singular,” which ran for 591 performances on Broadway. Not until last year’s triumphant revival of “The Norman Conquests” did he make anything like the same kind of splash–the Manhattan Theatre Club’s 2005 production was a flop–but Mr. Ayckbourn’s dark farces of marital discord are now being performed with steadily growing frequency both Off Broadway and elsewhere in the U.S. Judging by the rapturous reception of “The Norman Conquests,” I’d say that Broadway is about ready to catch up with the rest of the country.
Meanwhile, Barrington Stage is mounting a strongly acted revival of “Absurd Person Singular,” whose three acts, set on three successive Christmases, show us three couples whose lives are in varied states of disarray. Finnerty Steeves, one of this country’s top regional-theater actors, is nothing short of extraordinary as the desperately unhappy Eva, who tries without success to kill herself seven times in a row in the second act. That these repeated attempts should be as hysterically funny as they are grimly serious says everything about the complexity of Mr. Ayckbourn’s style of comedy….
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Read the whole thing here.
Mary Martin and Robert Preston perform “Nobody’s Perfect” (from I Do! I Do!) on the 1966 Tony Awards telecast:
TT: Critic in the courtroom
If you haven’t heard about how Don Rosenberg, who used to be the classical music critic of the Cleveland Plain Dealer, sued his own paper for defamation and age discrimination, go here to catch up. Then turn to my “Sightings” column for Saturday’s Wall Street Journal, in which I take a closer look at the suit and why it matters to critics all over America.
Was Rosenberg wise to sue? Did he ever have a chance to prevail in court–and should he have done so? Read all about it in tomorrow’s Journal.
UPDATE: Read the whole thing here.
TT: Almanac
“I can’t understand how anyone is able to paint without optimism. Despite the general pessimistic attitude in the world today, I am nothing but an optimist.”
Hans Hofmann (quoted in Katharine Kuh, The Artist’s Voice: Talks With Seventeen Modern Artists)
BOOK
Rosanne Cash, Composed (Viking, $26.95). This is a remarkable piece of work, a making-of-an-artist memoir by a musician who is equally adept at writing prose. Composed is–all at once–funny and poetic and down to earth, and Cash also has a great many exceedingly shrewd things to say about the music business and its discontents. Don’t go looking for gossip, but if you want to learn about the inner and outer lives of one of our very best singer-songwriters, you won’t be even slightly disappointed (TT).
DVD
Presenting Sacha Guitry (Criterion Collection, four discs). Four films by the great French actor-playwright-director, none of which, so far as I know, has ever been available on home video in this country. In The Story of a Cheat, The Pearls of the Crown, Désiré, and Quadrille, Guitry transferred his stage-farce style to the screen with astonishing and near-unprecedented success. I can’t think of another playwright who took to film with such idiomatic gusto. If there’s any justice at all, this long-overdue box set will introduce Guitry to a new generation of film buffs who have no idea how much pure pleasure they’ve been missing (TT).
BOOK
Richard Stark, Deadly Edge/Plunder Squad/Slayground (University of Chicago, $14 each). Three more titles in the University of Chicago Press’ ongoing uniform paperback edition of the complete novels of Richard Stark (a/k/a Donald E. Westlake). Parker, Stark’s diamond-hard anti-heroic heister-protagonist, has admitted a woman into his life but remains as tough and unrelenting as ever. The plots are more complex, the language richer, the canvas wider. Get them all (TT).
TT: This ain’t no party
Here I go again, this time to Wisconsin by way of Chicago. I’m spending a week in Spring Green, where I’ll be seeing four of the plays currently being performed by American Players Theatre at its two-stage complex. One by Shaw, one by Somerset Maugham, one by Lillian Hellman, and one by Athol Fugard: I’d say that’s a pretty nice package, wouldn’t you?
As usual, I’ll be staying just down the road from Taliesin, Frank Lloyd Wright’s country home, and spending most of my days slaving over a hot word processor. This is no vacation, alas and thank you very much. Mrs. T has had enough travel for one summer and prefers not to this time around, but Our Girl plans to drive up from Chicago and see Major Barbara with me on Saturday afternoon, after which we’ll dine at one of my favorite restaurants. In addition, I intend to nibble on Pleasant Ridge Reserve Cheese while I’m in town.
More as it happens.