Maybe- maaaaaaybe- playwrights like Noël Coward and Oscar Wilder can live by smart and clever line readings, but George Furth ain't Wilde or Coward and his linseed to sound as real and natural as possible.
This is quite funny. Coward and Wilde are some of the greatest writers of the late nineteeth and early twentieth centuries with works that continue to live on. Wilde's work in particular may have a heighten sense of language that leads you to believe it "maybe" needs line readings, but I don't understand your comment on Furth. None of his straight plays are particularly well-known or even widely produced, with his main work being his collaborations with Sondheim, i.e. Company and Merrily We Roll Along. I haven't read any of his plays, but Furth's work in The Act, Merrily, and most of all Company is the opposite of "real" or "natural" dialogue. I think it takes a very gifted actor to make the arch text of Company sound real. I haven't seen this production, but LuPone's concert performance (where she blew Harris out of the water in their scene together) shows that she is - like Stritch - uniquely positioned to give Joanne new life.
And this just a personal opinion, but give me Salome over the libretto of The Act any day.
"Sticks and stones, sister. Here, have a Valium." - Patti LuPone, a Memoir
Updated On: 10/18/18 at 01:06 PM