HOW I LEARNED TO DRIVE Previews

Not familiar with the work, but this has caught my eye. Love that the original director and leads are back for the Broadway premiere, age be damned. Anyone here see the original Off Broadway work?

I adore MLP, and I am thrilled she has refocused so much of her career on stage work over the last few years. I recently bought tickets for the end of April.

I have read the play and admire it, but I don’t think I can sit thru it. As a childhood victim of sexual abuse, I just don’t think I can sit thru it, much as I respect all involved.

I’m seeing it April 27th, so I’ll definitely be keeping my eyes on this thread. This is probably the show I’m most excited for this season. I remember just sobbing when I read the play for the first time. It totally knocked me out. And now to be able to see it with the original leads feels so surreal.

I saw it at the Vineyard and thought it was outstanding.

I really want to see this however my April trip is booked solid. I really wish more Broadway shows did non traditional performance schedules. Throw me a Thursday matinee instead of the typical Wednesday.

Going Sunday. Can’t wait.

Im stunned by this show, its an effective and clean production that trust the text and the actors. Vogel’s ability to symbolis is so powerful, took me some minutes to really understand where she was going.

The cast is great, Day had an amazing monologue, but Morse and Parker are simply sublime. He had a powerful moment in the end, and one of the last scenes of Parker, with no words, is perfection.

Loved it!

ElephantLoveMedley said: "Could Mary-Louise Parker be on her way to her third Tony? Is she the frontrunner for Lead Actress in a Play this year?"

Didi O'Connell seems like the only other performance even remotely close to win-worthy (having not seen Drive or some other contenders). Other contenders would be Ruth Negga, Debra Messing, SJP, LaChanze, and Emily Davis. Possibly someone from POTUS? Skin of Our Teeth wouldn't have anyone in Lead, right?

Kind of a thin category this year, compared to the Elaine May year.

Seeing this piece tonight was my first introduction to the play itself and Paula Vogel's work more broadly, and I was totally floored by it. The play is complex, and the nonlinear structure allows Vogel to oscillate between disturbing and disarming content. It's a simple production, but extremely effective in that it doesn't get in the way of the script. Parker and Morse are both giving extraordinary performances. For both of them, actor and character blend so seamlessly that you don't see the acting. You just see the characters there on the stage in front of you. I completely agree that they should be considered the Tony frontrunners at this point in the season.

Having read the play 20 years ago and having seen the Second Stage production 10 years ago, I was trepidatious going into this again. What a fool I was. This production of this play is outstanding and frankly, should be shown to theatre students in universities across the globe. This production, be it simple yet thought provokingly poignant, proves two things. 1) “The play’s the thing.” Paula Vogels work here is one of the best Pulitzer Prize decisions the committee has made. 2) When actors do more than act, present, and perform, but literally transcend into characters who obviously live in their bones, there’s no higher superlative one can bestow. Not being the biggest Mary Louise Parker fan to begin with, boy did I get schooled. Just sensational here. What she and David Morse do with this material all these years later only benefits the play and gives its audience a sensational hour and 40ish minutes of theatre. Add me to the chorus who would make MLP only the 7th performer to win back to back Tonys, and only the 2nd to win lead actress in a play back to back (Shirley Booth being the only other.) David Morse has stronger competition, but he’d get my vote too. And Johanna Day has competition galore in featured actress but her turn here shouldn’t be ignored.

I was off a far aisle, but back fairly far. The show is blocked to consistently place the action downstage. It's almost always center, and the presentational narrative is on the apron edge, played to the full house effectively. I'd take close seats to be in proximity to these performances. They are remarkable..