Archive for the ‘Plays’ Category

SeminarI’m the kind of hardcore theater devotee that reads the scripts of plays as pleasure reading.  Sure, I’d rather see a good production, but given the economics of modern theater, if you don’t live in a large city where there is enough demand that theater companies can draw an audience with some new or lesser-known plays, you most likely won’t get to see many of these shows on stage.

Besides, plays make for good reading.  The time limits of the stage mean that a play is a quick read, something one can squeeze into a day if need be.  I enjoy playing the game of imagining which of my favorite actors would be good in the roles as I read them.  Even more fun, reading a play is an invitation to project yourself into the role of actor, even if you’d never go near a stage in real life.  Plays are full of cracking good dialogue, meaty conflict, and even the heavy dramas often contain real belly laughs.

So it is with Seminar, a play headlined first by Alan Rickman then by Jeff Goldblum a couple of years ago on Broadway.  Four aspiring young writers have pooled their money to schedule a private seminar from a literary icon, an event held at one of their homes.  In her preface, playwright Theresa Rebeck notes that part of her pleasure in writing this play was to create a chance for an older actor take some younger actors to school.  The writer Leonard is sour, used up, and manipulative, but one can’t help but stifle a nasty laugh at the way he finds the vanities and insecurities of the pretentious students and dissects them after reading a few sentences of their writing.  He doesn’t have their best interests in mind and uses them in every way imaginable, but in the end, each learns something valuable from the contact.

If you’ve ever shaken your head at some of the blowhards that seem to populate the world of modern literary fiction, I think you’ll enjoy the way that Leonard puts a pin in the pomp of these four young writers while facing his own demons.  Give this Seminar a look.

Check the WRL catalog for Seminar

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Next to NormalHow often do you encounter a musical that makes good reading too? With music by Tom Kitt, and lyrics and book by Brian Yorkey, Next to Normal won the Pulitzer Prize for Drama in 2010. This isn’t typical musical fare with comedy, romance, a few big production numbers, and a happy ending. Next to Normal has most of those but also large doses of family dysfunction and tragedy. The comedy is dark, the romance is somewhat tortured, and the happy ending comes in a minor key: there’s hope, but no guarantee.

The story begins on a note of normalcy: a husband, wife and their teen son and daughter are busily preparing for another day of work and school. But the upbeat music comes to a crashing halt as the mother’s preparation of sandwiches takes a turn that shows she has mental health issues. I won’t give away the plot twists, but viewers or readers will also soon discover that everything is not as it seems in the family, that a tragedy haunts their past and present.Next to Normal staging

The story progresses to reveal a series of inconclusive therapy sessions and drug treatments, a strained marriage, and a daughter whose history of feeling unloved contaminates her potential relationship. It’s rough stuff, but Yorkey’s clever treatment also provides a share of bittersweet laughs along the way. Kitt’s score of rock numbers and ballads provides energy, humor, and a fast pace that keeps the story moving and vital even at its darkest moments. The finish is certainly not the typical happy ending, but it’s hopeful and honest.

By all means catch Next to Normal if it is produced somewhere near you. But if not, stop in at the library and grab the libretto or the CD of the Broadway production, featuring an amazing performance by Alice Ripley as the mother. You’ll be able to picture the story easily as you take in this moving and potent drama with subject matter that is relevant to so many modern lives. If you or your family have struggled with even minor mental health challenges or the difficulties of finding the right prescription or treatment for those problems, you need to experience Next to Normal, where the underlying message is that families who face challenges are in many ways the most normal of all.

Check the availability of the Next to Normal libretto in the WRL catalog

Or get the audio CD of the Broadway production

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In his 2011 play Good People, David Lindsay-Abaire confronts the knotty question of class in America with humor and insight. As the action opens, Margie (pronounced with a hard “g”, everything about Margie is a little hard) is fired from her undignified work as a clerk at a dollar store. She’s been late too many times, and Margie’s tough mouth makes everyone around her nervous. Even as she’s being fired, Margie takes shots at the manager’s thieving mother, her co-workers, the manager’s favoritism for a girlfriend who’s also a clerk, the potential girlfriend’s ethnicity, and the manliness of the manager’s visits to the local bingo game.  It’s not that Margie is wrong, but she’s more than a little bigoted and her filter just doesn’t work at all.

What makes this play work is that Margie, despite all her bad qualities, is sympathetic. The reason that she’s always late for work is that she’s trying to support an adult daughter who functions like a child, and taking care of her or maintaining a household on an insufficient salary often makes it difficult for Margie to get to work. Margie works hard, stands at the center of her social group, and displays an intelligence and humor that shine through her anger.

A conference with her South Boston neighborhood cronies, along with a healthy dose of desperation, convinces Margie that her best hope for work is Mike, a long ago high school boyfriend who escaped Southie and has become a doctor. That leads to confrontations at his office and ultimately at his luxury home, where the story culminates in a scene between Margie, Mike, and his young African-American wife. It’s there that Margie’s anger and bigotry, Mike and Kate’s well-intentioned inability to understand the limitations placed on Margie by poverty, family, and gender, and the sheer awkwardness of the situation lead to some sparkling, darkly comic conflict.

On the stage, the role of Margie has already been taken up by actresses such as Frances McDormand (who won a Tony for her portrayal) and Jane Kaczmarek. It’s an exceptional part, one that actresses who can blend comedy and drama will covet. It makes for entertaining reading too, leavening exploration of important, relevant issues with a hearty dose of humor.

Check the WRL catalog for Good People


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I would like to make you all love Stephen Sondheim as much as I do.

I admit bias. I’m working on my third Sondheim role in three years since returning to the stage. He wrote half the shows I’ve done, and I rarely pass on a production of one of his works. I’ve done Company, Merrily We Roll Along, and now Follies, and Sweeney Todd, A Little Night Music, Assassins, Sunday in the Park with George, Road Show, and Into the Woods are all high on my bucket list of shows I’d love to try. Even people who aren’t theater fans recognize iconic shows like West Side Story and Gypsy, for which Sondheim wrote the lyrics.

But musical theater isn’t everyone’s thing, and even for fans, Sondheim takes work to enjoy: the books for his shows are often dark or satirical without the pat happy endings that many associate with the genre. While his music and lyrics are catchy, he also loves dissonance and uses big words liberally. Performing his music can be a love/hate proposition: Sondheim tests your ear, memory, breathing apparatus, and the muscles of your tongue and jaw to the maximum degree. Performers are warned off auditioning with Sondheim for other shows because the music is notoriously difficult to play, with tricky accompaniments and frequent changes in key and time signature.

Still, it’s hard to find a musical theater afficianado (at least one under 50) who wouldn’t put Sondheim atop the canon. His shows are revived more often than any contemporary and his songs frequently cobbled into new revues. Why?

There’s depth in his work that rewards years of listening, that leaves one finding new pleasures in even the smallest songs, appreciating another level of wordplay in a line that one has heard again and again. His rhymes are perfect and more often than not surprising. Lyrics are stuffed with internal rhymes, clever puns, and interesting ideas, but if one can stay in tempo, they come gracefully off the tongue, always well-matched (or cleverly undermined) by the underlying tune. And Sondheim’s subject matter is much more diverse than the variations on boy-meets-girl that dominate most of the genre.

Which brings me to Sondheim’s lyric collection Finishing the Hat, which collects lyrics from the first half of his career (everything I say here applies equally well to Look I Made a Hat, the second volume which covers work from 1981 to date). These two books are many things: a sort of memoir, a history of modern musical theater, a treatise on the art of songwriting, and a delightful collection of poetry all wrapped up in one package.

This is dense reading that contains not only all the lyrics (including those for numbers that were cut), but his honest opinion about his successes and failures, facsimiles of early drafts of his work, behind-the-scenes production pictures, and perhaps most interesting of all, his notes on each show and his thoughts about other composers and lyricists (those who have died; he assiduously avoids the subject of his living contemporaries).

Unless you’re a huge fan, don’t read this treasure chest from cover to cover. Read the introduction and the lead-in notes to each show, but after that, sample. Just as many re-read Shakespeare before attending a play, you might preview the lyrics of a Sondheim show to help you catch more nuances during the actual performance. Browse through favorite shows or numbers, preferably as you listen to a cast album or watch the film of a production that you checked out on the same library visit. Enjoy the pictures, and watch for sidebars, where Sondheim often has very pointed things to say.

Check the WRL catalog for Finishing the Hat: Collected Lyrics (1954-1981) with Attendant Comments, Principles, Heresies, Grudges, Whines and Anecdotes

Or try Look I Made a Hat: Collected Lyrics (1981-2011)


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As August: Osage County opens, Beverly Weston, a one-book wonder poet and the patriarch of a large Oklahoma family, is in the process of hiring a native American housekeeper. A little drunk, he reveals some of his family’s dysfunction. His wife Violet has mouth cancer and is addicted to prescription drugs, and Beverly admits that these are only part of her larger problems.

Tracy Letts’ pitch black comedy drama won the Pulitzer Prize in 2007, along with the Tony, the Drama Desk Award, the New York Drama Critics’ Circle Award, and pretty much every other award available to plays. It’s in the tradition of Eugene O’Neill, Tennessee Williams, and Arthur Miller, following the disintegration of an American family, in this case people of the central Plains, after years of slow decay from inside.

As the first act opens, we discover that Beverly has gone missing, and his three daughters, their spouses and fiancés, sister-in-law, and grandchildren have returned home to keep vigil. Violet is in terrible form, popping pills like candy and confronting her daughters with every ugliness in the family. Her barbs and those shot back by her daughters, especially the eldest Barbara, are hilarious, but so full of anger and pain that the laughter turns to acid in your mouth. Violet’s sister Mattie Fae bullies her 37-year-old son Little Charles, a boyish man, and bickers with her husband Charles. Barbara’s academic husband Bill seems nice, but he’s had an affair with a student and the couple are, unknown to the rest of the family, separated. Their daughter Jean is fourteen going on forty, pot-smoking, foul-mouthed, but not nearly as worldly as she’d like to believe. Beverly and Violet’s second daughter Ivy is soft compared to the other sisters, cowed by her mother’s bullying. Youngest sister Karen has had a life of unhappiness, but returns to the family with new confidence gained from her relationship with her older fiancé Steve.

Each of the family members are hiding a secret which comes out over the course of the long (for a play) and harrowing drama. It’s bitter, but epic, and like the best family sagas, the Westons are symbols of a deeper degree of societal rot. Violet is a terrifying matriarch, pushed beyond the breaking point and pulling the whole family down around her. She may be drug-addled and diseased, but she’s tough as nails and none of her family’s foibles have escaped her. The other twelve characters in this tragedy of dysfunction are all interesting too. Wait for a time when you can handle some darkness, but by all means, don’t miss one of the great American plays.

Check the WRL catalog for August: Osage County.


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We wrap up the week with another Sondheim musical, one that will be getting a bit of attention this holiday season. Soon to be released on the big screen, Sweeney Todd is the story of a London barber who, with the help of friend Mrs. Lovett, turns those he dislikes (and other random Londoners) into meat pies. Yes, it sounds gross, I know, but it is a great (if macabre) story of love and hate, friendship and deception, despair and revenge.

Sweeney Todd was once a young barber in London, and lived happily there with his wife and daughter. As the play begins, however, Todd has just returned to London after being exiled by Judge Turpin. The Judge desired Todd’s wife, and sent Todd to prison to get him out of the way. Todd’s wife, in turn, poisoned herself, and their daughter became a ward of the Judge. Todd is determined to exact revenge, and plans to use his shaving skills to achieve it. Mrs. Lovett devises a plan to dispose of the bodies, and help bolster her meat pie business at the same time. Their plan has disastrous results, but the story of how they carry it out is highly entertaining. So, “Attend the tale of Sweeney Todd. He served a dark and vengeful god. What happened then, well that’s the play, and he wouldn’t want us to give it away. Not Sweeney. Not Sweeney Todd, the Demon Barber of Fleet Street.”

Check the WRL catalog (book)
Check the WRL catalog (DVD)

Sweeney Todd

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If you’ve read Hamlet, you should read Rosencrantz and Guildenstern are Dead. It is a play within a play, a telling of at Shakespeare’s story from the point of view of the minor characters of Rosencrantz and Guildenstern (or Ros and Guil, as Stoppard refers to them). The men are caught up in the story, without any knowledge of their lives before the events of Hamlet, and no knowledge of what happens to them in the tale’s bloody conclusion. As they obliviously wander through the world that Shakespeare created, they ponder their existence, their purpose, and the events taking place around them. They question fate, chance, life, and death in wonderful conversations and wordplay. The character of The Player (the leader of the theater troupe that performs for the royals in Hamlet) is woven throughout the play, and is the only character that understands what is going on, as he appears to be aware of the events of Shakespeare’s tale.

Rosencrantz and Guildenstern attempt to determine who they are (literally, they don’t remember which of them is Rosencrantz and which is Guildenstern in reference to the fact that in Hamlet they are interchangeable and always mentioned together) and how they should go about the task that has been set for them: to ascertain Hamlet’s state of mind. They undertake games of Question and Answer, and role-play in an attempt to make sense of his behavior. The dialogue consists of humorous banter at times, as well as deep, philosophical conversations. As they consider their futures, their conversation is a classic Rosencrantz and Guildenstern exchange which concludes as Rosencrantz offers the following advice on death: “I wouldn’t think about it, if I were you. You’d only get depressed. Eternity is a terrible thought. I mean, where’s it going to end?”

Check the WRL catalog

Rosencrantz and Guildenstern

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