CHILDREN OF A LESSER GOD (2018) Previews

[BroadwayConcierge]

Posted: 3/19/18 at 11:09pm

Previews for the first Broadway revival of Mark Medoff's Children of a Lesser God begin in just a few days (Thursday, March 22, 2018) at Studio 54. Starring Joshua Jackson and Lauren Ridloff in a transfer of Berkshire Theatre Group's 2017 summer revival, Children of a Lesser God is set to open officially on Wednesday, April 11 for a limited run currently on sale through Sunday, September 9.

Who's going?!

[CT2NYC]

Posted: 3/20/18 at 11:47am

TodayTix is having a sale on performances through 4/5, offering $25 & $39 rear mezzanine seats.

[Dancingthrulife2]

Posted: 3/20/18 at 12:20pm

I wonder why the producers put a $250 price tag on a large proportion of the front orchestra knowing that most of these seats won’t be sold and will have to go to TKTS.

[OuttaTowner]

Posted: 3/20/18 at 5:08pm

Saw itin the Berkshires last summer. A very well- acted production, but quite bare bones in the staging. Though I liked it just fine, I didn’t walk away from it believing that this revival was crying out to come to Broadway. I guess producers with deep pockets thought otherwise!

[MsRed]

Posted: 3/22/18 at 1:35am

I'm going to the very first performance (March 22).

I bought my ticket in October last year, and have been waiting anxiously ever since! 

[James2]

Posted: 3/22/18 at 10:03am

Is anybody checking for a rush today?

[Katarzyna]

Posted: 3/22/18 at 10:14am

There are $25 tickets available on the TodayTix App for all the performances through April 5th.

[CarmenA3]

Posted: 3/22/18 at 12:32pm

My friend backed out for tonight's first preview (3/22). I have an extra rear mezz ticket on Center Aisle if anyone is interested. $32.  PM me if you want to go :)

[WhizzerMarvin]

Posted: 3/22/18 at 11:34pm

I originally had tickets for Iceman Cometh tonight, but after that first preview cancelation I was able to go to Children or a Lesser God instead.

We have had a spate of revivals of award winning plays from the ‘80s/early 90s. After seeing the most recent incarnations of these shows it’s hard to believe how long the originals actually ran: The Real Thing (566), M. Butterfly (777), The Heidi Chronicles (622), Six Degrees of Separation (485) and lastly Children of a Lesser God (887).

Most of these won Best Play and were obviously commercial successes too. And yet, the revivals have all been major bombs, both critically and commercially (if Roundabout’s The Real Thing had been a commercial production it would have closed in a month).

It’s hard to know whether the plays have aged badly or the revivals simply stank; in reality it’s probably a combination of the two, and Children of a Lesser God I fear will follow in the footsteps of its fellow one-time hits.

I thought John McGinty, who plays Orin, was the most interesting character of the play now and the plot only seems to lurch forward when he’s onstage, which is sadly not too often.

Lauren Ridloff is great too and would have the potential to be phenomenal if placed in a better production with a livelier leading man.

Joshua Jackson is the weak link here. I know it’s just the first preview (after a run in Berkshires for most of the cast?), but the spoken portions of the play are essentially a 2.5 hour monologue for Jackson. He has to speak all of his lines, plus Ridloff’s lines AND there are super titles so we’ll all know if he screws up. He impressively has the words down, but his voice was so monotone in act one that it almost put me to sleep. Mike Baldassari’s lighting design is mostly dark blues and purples, which while pretty, can aid in lulling one into slumber!

Jackson perked up a bit in act two and the final confrontation is admittedly still moving, but it’s a long 2.5 hours to get to that little bit of payoff.

Kenny Leon is going to have to crack the whip, get the actors to pick up the pace and light a few sparks on stage.

I will say it was nice to see a diverse Broadway audience and a diverse cast on stage- still all too rare on both counts- but as much as I would like to rave about this production for these reasons the product isn’t good enough to warrant it.

[poisonivy2]

Posted: 3/22/18 at 11:39pm

That's odd to hear about Jackson as his Cole on The Affair is the only watchable part of that show and he;s very expressive on that show. 

[WldKingdomHM]

Posted: 3/22/18 at 11:44pm

I was also at the show tonight. Funny I thought Joshua was great, and Linda was just "ok" she had her moments. Anthony Edwards was terrible. The set, and the direction were at fault. The trees looked like they were borrowed from Let the Right One In. It could of been a beautiful show with a powerful impact but the evening felt flat. Oh well much luck to them 

Updated On: 3/22/18 at 11:44 PM

[LightsOut90]

Posted: 3/23/18 at 4:22am

I wish i cared more about this, considering its one of only like half a dozen plays that has been written with roles for deaf performers this should be a big opportunity, instead its Joshua Jackson above the title....really? what was he like the 5th name on the list of people they went after? Zzzzzz literally no one I know is anticipating this and its going to come and go real fast if the reviews arent anything but sterling 

[dramamama611]

Posted: 3/23/18 at 6:01am

Perhaps I'm misunderstanding your post, but I'm not sure what Joshua Jackson in the leading role has to do with there being deaf characters. Are you implying the deaf deserve a bigger name than Jackson?

I know several people that saw this (in the Berkshires?) last summer that raved about it and particularly him.

[Theater'sBestFriend]

Posted: 3/23/18 at 9:01am

IMHO, I think it’s pretty amazing that Jackson learned ASL just to take on this part. How many actors do you think would take on the challenge of performing in two languages, let alone one being ASL? I think that shows guts & incredible commitment.

If the show is anything like it was in the Berkshires, the performances are really part of what’s special about this revival. Lauren Ridloff was mesmerizing — even if you didn’t know she’s not had a professional acting career. It definitely felt still relevant.

I do wonder if the magic holds in a bigger NY house - that is to be seen. And obviously the cast needs time to get their legs in previews, adjusting their performances accordingly.

[WhizzerMarvin]

Posted: 3/23/18 at 9:33am

Has there ever been a play on Broadway that has been told 100% through sign language and supertitles? I feel like that would be such a bolder statement than what Children of a Lesser God is giving us.

The dialogue, or rather James’ monologue, is so often clunky because he has to repeat every Sarah signs in an unnatural way. As a made up example, imagine this conversation:

James: Hi Honey, I bought the strawberry ice cream for the party tonight.
(Sarah signs)
You told me to get mint chocolate chip? I don’t remember you saying that.
(Sarah signs)
What do you mean I never listen to you? I painted the bathroom yellow when I didn’t want to.
(Sarah signs)
Well if you had wanted canary yellow instead of daffodils then you should have said something before
I went to Home Depot!

The supertitles read exactly as what I wrote above. They give the English spoken words, but they do not function as translations for the sign language like subtitles do when watching a foreign film.

[Theater'sBestFriend]

Posted: 3/23/18 at 9:54am

Interesting question!

To me, the play is about struggling to communicate (when you think you already know how), which I believe is the structural reason it’s written in two languages.

I’m curious what those who know ASL think of Jackson & Ridloff’s signing. I don’t sign personally, but thought hers was very poetic.

[WhizzerMarvin]

Posted: 3/23/18 at 10:08am

Her signing (and facial expressions) were so expressive that you really didn’t need him to be translating for her. Her signing reminded me of dancing; her arm movements and fingers all created such beautiful lines.

His signing may have been all correct, but had no style or crispness. Given that it is his profession I expected more a tautness to his signing. Also it’s in the script- he loves Bach and subdividing every word into neat little phonetic symbols. His signing should be flawless, but mechanical. Like someone who has learned a foreign language and has impeccable grammar (better than a native speaker), but can’t grasp the slang or poetry of the language.

On the other hand, Sarah may not being able to hear music, but she can sense it through the vibrations. She also loves to dance and has fantastic rhythm, whereas he doesn’t.

[Theater'sBestFriend]

Posted: 3/23/18 at 11:07am

Interesting! So he’s the teacher (he thinks), but in a way she’s more articulate...

I look forward to seeing how that plays after they find their legs in New York.

[dramamama611]

Posted: 3/23/18 at 11:49pm

WhizzerMarvin said: "His signing may have been all correct, but had no style or crispness. Given that it is his profession I expected more a tautness to his signing."

 

Perhaps I'm misunderstanding your point, Whizzer, but I always interpreted his character to lack that finesse...that for all his "education", he's still an outsider to the deaf community.  He looks at his knowing sign language as a band aid,  and that his job is to assimilate them to the hearing world but ultimately refuse to really join or fully understand theirs.
 

[Theater'sBestFriend]

Posted: 3/24/18 at 7:41am

That was my understanding too. Sarah has this gorgeous way of speaking that’s right before James’s eyes, but he doesn’t see it because he’s condescendingly trying to teach her his way. James’s echoing what Sarah is signing doesn’t bother me because, simultaneously watching the signing, as a hearing person I felt like I understood ASL.

I know the original production won best play (and Olivier) but don’t think Phyllis Frelich (the original Sarah) got a Tony. Was Marlee Matlin the first deaf actress to win the Academy Award?

I thought the set in the Berkshires was cool because it was like no time/any time/could be our time. I’m curious to see how that reads at 54 in that big, flat space though.

 

[Jeffrey Karasarides]

Posted: 3/24/18 at 7:49am

Theater'sBestFriend said: "I know the original production won best play (and Olivier) but don’t think Phyllis Frelich (the original Sarah) got a Tony. Was Marlee Matlin the first deaf actress to win the Academy Award?"

First of all, Phyllis Frelich did win the Tony for the original production. Second of all, Marlee Matlin was indeed the first (and to date, only) deaf performer to win an Academy Award.

[LimelightMike]

Posted: 3/24/18 at 11:08am

Is front row too close to take in this show? 

[JBroadway]

Posted: 3/25/18 at 1:00am

I saw the matinee today and thought it was...fine. Not terrible, but not noteworthy. 

Jackson was my least favorite part of the production as well. To be honest, I don't even really think he was bad, I just found him really annoying. I didn't like the sound of his voice, or his mannerisms, or the character itself. None of that is his fault, but nonetheless I just did not care for his portrayal of the role.

The play itself has its good moments but I find a lot of it kind of dull. And the way the central relationship is written really rubs me the wrong way - and I felt the same way about the movie. I wish Sarah were the protagonist and not Leeds. I think that would have been far more interesting. 

Updated On: 3/25/18 at 01:00 AM

[Danielle49]

Posted: 3/25/18 at 1:40am

I was also at the matinee and am sorry to say that I grew sleepier and sleepier as the play went on. Both the person next to me and in front of me left at intermission. I enjoyed the story itself, but the issues with direction are pulling this revival down.

John McGinty was great and brought so much life to the production whenever he was onstage. Lauren Ridloff was also very good, but by way of the script is engulfed by the James Leeds character as he speaks whatever she signs. That wouldn't be so much of a problem with a stronger leading man.

I didn't warm up to Joshua Jackson until the last 30 minutes of the play. The rest of the time he's got volume but little expression in his voice - which I'm hoping is an acting choice that just didn't work for me. He might be doing it unintentionally as well because he's simultaneously signing and speaking and he's not used to doing both at once, causing this dull vocal rhythm that made me drowsy. I do, however, commend the work he's clearly put into this role - learning ASL and being onstage speaking the entire time. Seems exhausting.

Also, Anthony Edwards is giving a shockingly weak performance. Like wow.

I think the biggest problem is with Kenny Leon's direction. He really needs to pick up the pace because there's a glaring lack of energy at this point. The barebones set and lack of many props also doesn't help his cause. Yes, the play takes place in James' mind and it's all about listening and communication, which is why those choices were made, but it oftentimes felt like I was watching a meandering rehearsal and not a Broadway revival.

Leon needs to bring the entire play to the level that the conclusion is at in terms of clarity, intention, and heart - but I doubt that's going to happen. It's a shame.

Updated On: 3/25/18 at 01:40 AM

[South Fl Marc]

Posted: 3/25/18 at 10:58am

I'm really surprised this show is being revived. I saw the original production and the only thing that blew me away was the performance by Ms Freilich.. The details about the play I forgot about a month after I saw it, which shows how memorable it was. If I remember the script at all, this would be better suited nowadays as a Hallmark or Lifetime movie(not a compliment). I do love reading your comments on the production though as I have no interest in seeing it.