Karen (?) is a badly written role. It's hard to judge. I thought originally it was just Madonna's acting, but when I saw Moss I was just as surprised at how very mediocre she was in the role as well.
I went to see Moss in "The Children's Hour" in the West End with Kiera Knightley. She wasn't great in that either until the last scene where she absolutely nailed it.
I also discovered Kiera Knightley's ankles are monstrously thick!
I recently re-read Heidi Chronicles and I just think it's so dated. It has that 80s yuppie mentality ingrained into it and I don't think it will have a good run in a Broadway venue.
If anyone ever tells you that you put too much Parmesan cheese on your pasta, stop talking to them. You don't need that kind of negativity in your life.
"I really like Elisabeth Moss - can't they find a better vehicle for her?"
Elisabeth Moss and Kiefer Sutherland in Frankie & Johnny in the Claire de Lune
Elisabeth Moss and Rosie O'Donnell in The Female Odd Couple
Elisabeth Moss, Angela Lansbury and John Cullum in Painting Churches
And the list goes on.
If anyone ever tells you that you put too much Parmesan cheese on your pasta, stop talking to them. You don't need that kind of negativity in your life.
I saw Moss a number of times in SPEED-THE-PLOW. Early in the run she was quite wooden and one dimensional but she also got no help from Piven who was only interested in his own part and not in being a generous co-star. By the end of the run, particularly because the age difference with William H. Macy gave her role an added "twist" of power, she had become interesting and was very strong in the final scene reveal. But the part is pretty "mechanical" because the plot is really about the two male characters.
I think Speed-the-Plow was all together boring. Not sure it was her fault or not. I'm interested to see the play, knowing it won the Pulitzer. I'm not sure I love her though. She's not gutsy enough for me.
It's interesting this revival would happen next season as Leigh Silverman is directing a high profile production of HEIDI for the Guthrie in September as part of Joe Dowling's farewell season. I'd wondered if that incarnation may have eyes on New York.
I thought Moss was wooden and completely uncharismatic in SPEED-THE-PLOW, though I really love her film and television work. The parallels between Heidi and Peggy Olson aside, this seems like an odd vehicle for her. Someone like Lily Rabe or Lauren Ambrose would have been more appropriate. Those women have a harder edged subversiveness about them that's critical to the character and not inherently apparent in Moss, who reads young and may also struggle to play someone who ages significantly over the course of the story. I always thought Mary-Louise Parker would have been near definitive if given the chance to tackle Heidi. It's a shame she's aged past it now.
All that being said, as someone who loves the play, I'm rooting for Moss to prove me wrong. She's a luminous talent more than capable of pulling off a surprise.
Tonya Pinkins: Then we had a "Lot's Wife" last June that was my personal favorite. I'm still trying to get them to let me sing it at some performance where we get to sing an excerpt that's gone.
Tony Kushner: You can sing it at my funeral.
I just keep thinking this is really going to be a museum piece.
The play brings a heavily feminist message with it. And it's really not an interesting play plot wise. The women's empowerment group scene goes on and on and on. Hopefully the director will trim that scene because it's boring. Because it's a 1980s play, they have to ignore the entire modern era of computers, internet, cell phone.
If anyone ever tells you that you put too much Parmesan cheese on your pasta, stop talking to them. You don't need that kind of negativity in your life.
"The play won the Pulitzer Prize so let's cut some stuff and update the damn thing."
Wendy Wasserstein has died so I don't know who would be brought in to spruce it up.
If anyone ever tells you that you put too much Parmesan cheese on your pasta, stop talking to them. You don't need that kind of negativity in your life.
it could fit into the Booth if they push the opening into April.
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.