THE LITTLE FOXES Previews- Page 3

[sinister teashop]

Posted: 4/9/17 at 7:26pm

Birdie in this production is a fighter and quite complex. The best moment in the production for me came when Addie quotes the biblical line which supplies Hellman's title and it got generous applause from the liberal audience. Cynthia Nixon cut into the applause with her following line (and I paraphrase) about wanting to go back to the antebellum South where everyone was nice and her mother was lovely to her slaves. It's a chilling line particularly following Hellman's inspiring line about calling out the evil people who do evil. Birdie is both a fighter for decency and a decayed remnant of the Southern slave owning aristocracy. Some evil people are perfectly lovely and they have no clue at all how they are contributing to an evil system. That moment was the best part of the production for me. That and Michael McKean's close to the vest Ben who is equally delighted and appalled by Regina's machinations. McKean's was one of the best reactive performances of an actor I've seen on stage. All that aside, the biggest problem with Sullivan's production is that Hellman is not Chekhov, she's Hellman and a lot of THE LITTLE FOXES is unapologetic theatrical melodrama that needs a bit of verve and snap and at least the tiniest bit of an arched eyebrow. Sullivan won't give in to any of that, not a bit, and the production suffers for it.

Updated On: 4/9/17 at 07:26 PM

[petewk87]

Posted: 4/10/17 at 3:47pm

I'm considering getting a 30 under 30 seat -- how's the view from the front mezz? Thank you!

[wonderfulwizard11]

Posted: 4/10/17 at 3:51pm

I sat in the 30 under 30 seats- front mezz all the way on the right. You'll miss a tiny bit of the actors when they're on the side, but overall it's terrific for the price.

sinister teashop puts into words more succinctly the issue I had with this production- it's fine, but never really crackles like it should. 

[Polka Dot2]

Posted: 4/10/17 at 3:52pm

I haven't gotten any 30 under 30 offers. Are they still sending that out via email?

[ChairinMain]

Posted: 4/10/17 at 5:20pm

I haven't gotten any 30 under 30 for this show either. If anyone has a code or a link I'd appriciate a PM greatly!

 

Updated On: 4/10/17 at 05:20 PM

[James2]

Posted: 4/12/17 at 11:56pm

I saw the matinee today, and while I thought it was quite good overall, there is one particular moment near the end that deflated it for me.

 

Click Here To Toggle Spoiler Content

When Horace spills the medicine bottle and Regina refuses to go upstairs for the spare one, she crosses her legs to send the message, which made the audience laugh.  I don't know if it's my memory of the film talking, but I feel it should not have been played for laughs.  I think the moment should maintain its tension instead of letting the audience dissolve it.

Agree or disagree?

[Polka Dot2]

Posted: 4/13/17 at 12:04am

I was at the matinee today too. Gonna be vague so there are no spoilers -

 

 I don't think that the actress was trying to get a laugh there. It was just one way that the audience responded. Many people realized how serious of a moment it was just a few seconds later. Perhaps an audience on a different day would not laugh at all. People often respond to serious moments in different ways.

[CT2NYC]

Posted: 4/13/17 at 12:21am

I was at the matinee as well, and I don't recall it that way. I heard more gasps than laughs, at least where I was sitting.

On an unrelated topic, spotted in the audience today were William Ivey Long, Paul Rudnick, and Jesse Green.

[Stage Door Sally]

Posted: 4/13/17 at 7:57am

My daughter and I were at the matinee yesterday as well. Laura was Regina, Cynthia was Birdie. Overall this is a solid production and we enjoyed it. Nixon seems a shoo-in for a Tony nod. We were in the mezzanine and the sound was poor at times. We missed a number of lines, especially when Nixon was stage right. This was bad, hope they fix whatever needs to be fixed.

***SPOILER ALERT***

The scene with Horace on the stairs was not as effective as it could have been. He walks up slowly and expires offstage completely. It would have been much more effective if at least he fell onto the stairs and had to crawl up slowly. The horror of Regina watching him do that would have been chilling. I hope they change this scene. It just might stop some unintended audience laughs.

ETA: There were very few of us at the stage door. Laura and Cynthia didn't come out, and Michael McKean raced by like a bat out of hell. Richard Thomas (excellent as Horace), Darren Goldstein, and the young Francesca Carpanini came out and were very gracious. Across the street at Waitress, a massive crowd was hootin' and a hollerin' for Sara Bareilles.

Updated On: 4/13/17 at 07:57 AM

[AC126748]

Posted: 4/13/17 at 8:16am

 I don't think that the actress was trying to get a laugh there. It was just one way that the audience responded. 

This is just how audiences react to things now. They laugh at everything. I remember watching last year's revival of Long Day's Journey Into Night and thinking the people sitting around me were reacting like they were at a Tyler Perry movie. 

[Stage Door Sally]

Posted: 4/13/17 at 10:18am

The audience laughter is more of a nervous laugh, seeing an unexpected gesture in the midst of a dramatic moment. I think it could be avoided by playing the scene differently. But perhaps the director is fine with it how it is. 

Updated On: 4/13/17 at 10:18 AM

[CT2NYC]

Posted: 4/13/17 at 11:15am

In my opinion, many aspects of the show border on "dark comedy," so I'm not surprised that there's some uncomfortable laughter during that scene. 

[bjh2114]

Posted: 4/16/17 at 12:18am

I just got back from doing the double feature today to see both women take on each role.  First off, let me talk about the things that were consistent from the two viewings.  The cast is, on the whole, wonderful with one exception.  Michael Benz as Leo seemed so out of place both times.  The unsung hero of this production is Richard Thomas, who may be giving the best performance I've seen him give.  The set design is GLORIOUS.  The attention to detail is incredible.  And the pacing (with an asterisk... see below) was spot on.

 

Now for the juicy part:

At the matinee, Laura was on as Regina and Cynthia was on as Birdie.  For me, both were pitch perfect in those roles.  Laura was calculated and manipulative while Cynthia was fragile and damaged.  For me, everything worked together perfectly.  Then, when they switched for the evening performance, Laura was exceptional as Birdie (though she played the role COMPLETELY differently than Cynthia).  She played Birdie as slightly stronger but far more scared.  This was a Birdie who was actively afraid of Oscar.  While Cynthia was consistently fragile throughout as Birdie (which worked), Laura really let Birdie's pain increase throughout the play, culminating in the most heartbreaking version of that Act 3 monologue I've seen.  Cynthia as Regina, however, sadly didn't work at all.  She played Regina as cool, but not calculated.  And every scene in which Regina dominated the conversation, the pace was considerably slower than with Laura as Regina.  Cynthia was fairly monotone, rarely changing the pitch of her voice even during the heated scenes.  This made the second half of Act 3 with her as Regina feel VERY long.

Based on all 4 performances, I'm guessing we'll see the producers stick to opening night credits (Laura as leading, Cynthia as featured) and not angle for anything strange when it comes to petitioning the nominating committee.  And as a whole, that's the stronger combination. But that almost feels like Laura's portrayal of Birdie is getting the shaft.  It really should be recognized in some way.  Whereas the matinee felt like a very strong ensemble led by two incredible women, the evening felt like a star turn for Laura (who got the loudest applause by quite a noticeable margin).  Honestly, if I had my way, I think I'd give the two ladies a single JOINT nomination in the LEADING category as Regina/Birdie.

[ColorTheHours048]

Posted: 4/16/17 at 6:33am

I also did the double feature and wholeheartedly disagree about Cynthia's take on Regina. For me, her as Regina and Laura Linney as Birdie are the more ideal pairing and the production that reflects that dynamic a more dramatically satisfying one. Where Nixon's Regina is a cool, catlike creature, often sitting in perfect stillness with a smirk on her lips, Linney's Birdie is deeply disappointed woman with hopes and dreams trapped in the body of a much-abused trophy wife. The supporting cast around them even felt more lived in, the gravity of the plot much more weighted.

With the cast reversed, it felt a little forced. Still undoubtedly an excellent production of a shockingly prescient and fresh play, but felt more stagey. Linney as Regina is warm and welcoming, making her route through the play more of a hero's fight, which felt off to me. Nixon's Birdie is far more pathetic, exuding fragility from the second she opens her mouth.

At the end of the day, my personal tastes skewed in favor of Cynthia/Regina and Laura/Birdie if I had to choose. But because it genuinely feels like two different productions, I can't recommend seeing both pairings highly enough.

[bjh2114]

Posted: 4/16/17 at 7:52am

It's so interesting that you thought Linney's Regina was more "warm and welcoming".  I actually felt the contempt for Horace right from the get go (helped by the slight changes in blocking, which was fascinating to me).  With Cynthia as Regina, I actually felt like she still loved him underneath the greed.  She ran to him much quicker when he first arrived and seemed more genuinely upset after his attack.  But maybe I'm a sucker for a stone cold bitch, which is why I thought Linney's Regina worked better.  Linney's Regina actually reminded me of another Regina... the evil queen from Once Upon a Time.  And I loved every second of it lol.

[Kad]

Posted: 4/16/17 at 11:17am

I also did a marathon day yesterday (with ColorTheHours) and I have to agree that I enjoyed Cynthia as Regina and Linney as Birdie more. Cynthia's Regina is imperious, still, and often cold, while Linney's is more vivacious and big. The best moment that exemplifies their different approaches is the heart attack scene: Linney defiantly crosses her legs, while Nixon simply leans back a bit.

However, it's Linney's vivaciousness that made her Birdie more compelling to me than Nixon's. Nixon's Birdie seems like a woman always on the verge of tears and like a kind word would break her, while Linney's seemed to actively be fighting for her happy day (interestingly, Nixon got exit applause for her big Birdie scene, while Linney did not). Nixon's Birdie is shocked that Marshall shows interest in her, while Linney's Birdie is not but has to swallow it.

The production as a whole is very strong; the pace never flags and the acts really fly by. The play also holds up remarkably well; Regina's climactic decision grew gasps regardless of the actress and Ben's final scene with Regina- wherein he remarks that America is full of Hubbards who will someday own the country- chilled the room. Even without the "gimmick" of the casting switch, this is an extremely worthwhile revival. But the gimmick is just a fascinating cherry on top.

[ColorTheHours048]

Posted: 4/16/17 at 1:56pm

One thing I will say: if you're planning a marathon day, make sure you're well-rested/caffeinated. By the final act of the second show, I was emotionally and physically spent and could barely keep my eyes open. It's one thing to see two different plays back to back, another entirely to see the same show.

But I agree with every word of Kad's review. Maybe "warm and welcoming" weren't the right words to describe Linney's Regina. "Vivacious" is far more appropriate. And the casting switch really is the icing on an already delicious cake.

Updated On: 4/16/17 at 01:56 PM

[ColorTheHours048]

Posted: 4/16/17 at 2:42pm

DOUBLE POST

Updated On: 4/16/17 at 02:42 PM

[poisonivy2]

Posted: 4/16/17 at 4:37pm

What I liked about Cynthia Nixon's Regina was how matter of fact and casual she was in her cruelty to others. She didn't do it out of anger, or rage, or frustration. It was just her standard operating procedure and the play just captured three snapshots of her (one in each act). But there was this sense that she was does this every day, and she'll continue to do it every day. It's just who she is. 

[JBroadway]

Posted: 4/18/17 at 5:42pm

I haven't seen the show yet, but I just watched the scene that filmed with both combinations:

http://www.playbill.com/article/watch-laura-linney-and-cynthia-nixon-perform-the-same-scene-from-little-foxes

Just based on these 2 videos, I think I'd prefer seeing Linney as Regina and Nixon as Birdie. Though I'd actually like to see both. 

[CT2NYC]

Posted: 4/18/17 at 6:14pm

I saw Laura Linney as Regina and Cynthia Nixon as Birdie, and, although I plan on seeing it again with the reverse casting, that clip confirms an issue I might have with Ms. Nixon as Regina. Her voice has a tone that I believe works much better with the emotionally frail and insecure Birdie. For me, when she raises her voice as Regina, it comes across as shaky, nasal, and strident.

Updated On: 4/19/17 at 06:14 PM

[bjh2114]

Posted: 4/19/17 at 9:39am

Yah those clips really illustrate the problem I had with Cynthia's Regina.

[CT2NYC]

Posted: 4/19/17 at 4:03pm

Here are more clips of each performance, released by MTC.

Laura Linney as Regina: https://youtu.be/eJDtO-oSCts

Cynthia Nixon as Regina: https://youtu.be/qgq80uVK8dE

Laura Linney as Birdie: https://youtu.be/o9-OTZ6fvk8

Cynthia Nixon as Birdie: https://youtu.be/n5JEutRLW9U

Updated On: 4/19/17 at 04:03 PM

[Stage Door Sally]

Posted: 4/19/17 at 4:09pm

Thanks for posting those clips. Glad I saw Linney as Regina and Nixon as Birdie.

[AC126748]

Posted: 4/23/17 at 8:42am

This production treats The Little Foxes with respect, reverence even. That is often its impediment. This story of avarice in the American South at the turn of the century is sharply written, both as a piece of dramatic literature and as a morality tale of sorts. The current Broadway revival neither produces the crackling delight of which the Hubbards are capable, nor does it squarely land its more profound message about the wicked people who eat the earth.

At yesterday's matinee, Cynthia Nixon played Regina and Laura Linney played Birdie. This came as a surprise to me, since when I bought my tickets a few days ago, the order on the website was reversed. I have no idea why, although Linney was out of Friday's performance due to illness, which might have affected things. (She seemed perfectly fine today). Nixon is a warm and sympathetic figure, and not a natural Regina in my book. She overcomes this by amping up the character's cold calculation, but it falls short of being an entirely successful performance. Nixon's style is quite contemporary, and some of Regina's juiciest lines (such as the concluding lines of Act Two) sound wan in her thin, high voice. She hits her high points in Act One, when Regina is at her most outwardly seductive, but her interpretation fades the more she is tasked with the heavy lifting of Acts Two and Three.

Linney's Birdie came across as too cartoonish in Acts One and Two, although she nailed the heartbreaking scene in Act Three. She perfectly disarmed the audience with wry humor at the beginning of the scene, which led to the devastating revelation of her unrealized life. When she said she hadn't experienced a single day of happiness in 22 years, I believed her. Still, I wonder if the production would be more successful overall if Linney solely played Regina and Nixon solely played Birdie.

The men were largely underwhelming. Richard Thomas barked his lines with little feeling for the text. I didn't believe that he cared so much for the downtrodden people of the town that he would strive to protect them from his devious wife. Michael McKean's Ben was standard issue villain; if he had a longer mustache, he would have twirled it. Darren Goldstein's Oscar and Michael Benz's Leo made almost no impression. Caroline Stefanie Clay's Addie was memorable. I felt that Francesca Carpanini could have done more with Alexandra, but it's a respectable performance.

I'm of the mind that The Little Foxes is one of the strongest plays of its era, and I'm glad to see its renewed prominence. That said, I've seen it done much better. The recent Arena Stage production that ran last fall in D.C. was head and shoulders above what MTC is currently presenting on 47th Street.