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Katie Holmes is playing Ann, she is one of the leads, but not carring the play. The importance of the four main characters (Joe, Kate, Chris, and Ann) is pretty even.

Still, the play requires extreme emotional highs and lows, and I seriously doubt she'll be any good. Wish I could audition...

I'm trying to remember the name of a play a read several years ago. I think it may have been in college in one of those play anthologies, but I'm not positive. The main character is a teenaged girl who finds a dying angel in a cave. She has sex with the angel and becomes pregnant. No one believes her when she tells them how she got pregnant, but nine months later she gives birth to a baby with wings.

Does anyone know what this play is??

Measure for Measure
The four leads are roles an actor can really sink his or her teeth into. It would be wrong to play Angelo, the Duke, Isabella, or Claudio as one-note, or as all bad or all good. The text has so much moral ambiguity. Plus, the language is Shakespeare at his most complex and the "Be absolute for death" speech is amazing.

Weez -

I flew over to London and saw the Histories weekend before last. I spent all this past weekend lamenting the fact that I won't be able to see them again. I don't think I'll ever get over those productions.

Also, to be on topic, I did get to see Macbeth when it was at BAM and it's the best production of that play I've ever seen. I too was shocked that it didn't get a Tony Nomination for best director.

Rubert Goold, for his intelligent direction of Macbeth.

The show isn't sold out yet, but most of the good seats are gone. I'll be seeing it in June, and I'm very excited, as I do like the original play. I'll be sure to report back.

Here's my review. It's very detailed, so contains spoilers:



On my way to New York I was listening to an interview with Edward Albee, who said that whenever a person goes to the theatre, she should treat it as if it is the first time she has ever seen a play. I thought that was excellent advice for a reviewer, and made it my goal to keep that in mind when I saw Sunday in the Park with George on Saturday (Music and Lyrics by Stephen Sondheim, Book by James Lapine). Fortunately t

EugLoven - I too want to be there for closing night. I've never felt that way about any Broadway show before. It was amazing.

I was reading this thread last week and found it provoked some interesting thoughts. I felt I had to post this week, because I've just seen the revival of Sunday in the Park with George.

If I had posted last week, I would have talked about how I always say that Sweeney is my favorite musical, but Sunday has the best score. I had only ever seen the video of the OBC of Sunday, and I loved it, but I felt the book didn't quite work in the second act. The show seemed disjointed. I first saw

Go see both! Seriously. These are the two best productions I've seen in a very long time. Both are extremely smart, well directed, complete pieces of theatre. Both of examples of productions where the director truly understands the material and how to make it shine.

I saw this show when it was at BAM, so some things may have changed. But here was the long report I wrote up about it. SPOILERS AHEAD.


I love when the intelligence of the director shows. I love when a director can cause an entire audience to react to something. There were many such moments in Rupert Goold’s staging of Macbeth. It was a well thought out, highly successful production. Gould gets the audience in the palm of his hand immediately. The productions opens the bleeding Se

I thought it was good, but not great. The first act was in dire need of cutting. The second act was more successful because the plot was tighter. I understood the purpose of the rock music, but like others on this board, felt the scene changes took too long and threw you out of the action.

Rufus Sewell was the highlight. His acting was committed, believable, and without any vanity. Brian Cox was a huge disappointment. He played his character on one note the whole evening.