LONG DAY'S JOURNEY INTO NIGHT Previews- Page 5

[smidge]

Posted: 4/14/16 at 9:22am

I was at yesterday's afternoon performance too. As soon as I sat on house left I could see what people are complaining about.  With the set placement I felt bad for anybody in the first few rows on house right. To me, Jessica Lange can do no wrong.  This was my first production of Long Day's and it was devastating.  Don't let the runtime deter anyone. 

[neonlightsxo]

Posted: 4/14/16 at 9:26am

"The production's least successful performance, early in previews, is Gallagher's. He's fine in the first three acts, if slightly invisible.  But his bravura 4th act material is rather one note at this point, not varied or emotionally full enough in contrast to three actors who leave it all on the stage. "

 

This is very interesting to me, as I was just reading (or watching, can't recall) an interview with him about whenever he is on stage, he always is told to be bigger, and how he has felt more at home on film in the last few years in that way. I've never felt that way about his performances, but I think he is probably just readjusting to having to act to the back of the house, and that may be what you're seeing. I didn't find that the subtleties of his performances detracted from the production or the characterization, but I see your point. (though I disagree about act 4.)

Updated On: 4/14/16 at 09:26 AM

[Kad]

Posted: 4/14/16 at 9:33am

What I love about Michael Shannon as an actor is that there is something that feels dangerous about him in his performances- the sense that he could do anything at any time. It's like watching a wild animal.

Even though Shannon never is violent in the play (and is, in fact, the recipient of physical violence), there is the sense that- if he felt like it- he could totally throttle his brother into submission. Updated On: 4/14/16 at 09:33 AM

[Auggie27]

Posted: 4/14/16 at 9:36am

Whizzer: we're on the same page. I was up in the front mezz, very good seat house right, not too close to the wall at all, but assumed this downstage right blocking issue with Lange was only a problem upstairs. , Obviously a ridiculous assumption, now that you've posted.  As I posted, I assumed it was almost intentional, as Mary shields herself for much of the first two acts.  But clearly that's my projection, giving Kent too much credit.  This is a problem. That wig was often my focus as well.  The set design worked for me, but I wonder why he puts Mary in such consistently weakened positions on it, requiring her to turn three-quarter back to address anyone in the chair right of the table. Her downstage left perch forces her to keep her back to half the audience. These are smart folks, and I have to believe word will reach Kent and company during previews.  This is not just a matter of a few people on the house right wall.  The one thing it proves: Lange's vocal work, much discussed during "Streetcar," is exemplary.  As little as I saw of her face until quite late, I heard every word.  And her range, as noted by many in this thread, is quite beautiful. Yes, those low notes are scary and haunting. Injected glimmers of sober self-knowledge amid her flights of drug-fueled reverie.   

[WhizzerMarvin]

Posted: 4/14/16 at 9:47am

Kad, Did you see Michael Shannon in The Killer at TFANA? Talk about a scary, balls to the wall performance! 

 

Auggie, I agree that Lange's vocal work is sublime. If this were the audio book reading of the play I'd say let's engrave the spoken word Grammy immediately. Unfortunately, I want more than an audio book when I go to the theater. As you note she is directed to have her back to the many in the audience when she speaks to her husband in his chair or her children in their perches upstage right. 

 

If the direction remained the same, but the set sat square in the proscenium I wouldn't have had a problem. I feel like my seat was partial view even though I could easily see the whole set. 

[Kad]

Posted: 4/14/16 at 9:49am

Whizzer: I did! That was my first time seeing him onstage. He was fantastic (and I loved that production). Shannon's final monologue was astounding.

[neonlightsxo]

Posted: 4/14/16 at 9:50am

He was so good in The Killer.

[WhizzerMarvin]

Posted: 4/14/16 at 9:59am

I unfortunately didn't like Grace at all and found his talents to be wasted (plus he was forced to hide behind that mask for most of the evening). 

 

Have either of you seen Midnight Special yet? Another terrific film performance. He really is a special talent and I'm glad he appears to be equally devoting to film and stage work. 

[Auggie27]

Posted: 4/14/16 at 9:59am

Shannon was remarkable in the Cromer "Out Town," one of the later stage managers.  I remember the first moment, when he just walked out and held up the cell phone to say "turn this f--ker off." The entire production was in the hands of someone who wouldn't sentimentalize the play in any way.  He mesmerized me yesterday, and his 4th act is just fearless.   

[themysteriousgrowl]

Posted: 4/14/16 at 10:10am

 

It’s exactly that quality that makes Shannon one of my favorite actors – and a quality I think every great actor possesses, though it isn’t limited to danger – just any kind of potential unpredictability.  PSH and Burton and Sellers and Ledger had it. Streep, DDL, and Swinton have it. Brando and Pacino – at least in the first halves of their careers. It’s the acting equivalent of the tactic Sondheim describes using in composition as (I’m paraphrasing) “constantly surprising the ear.”

 

They generate a sense of immediacy by seeming like they could surprise even themselves at any given moment. My college acting teacher heavily emphasized this and described it, at its essence, as “discovering how to play again.” He had a story about Peter MacNicol as the only actor able to bring this quality into every rehearsal after the director started making weird demands on the cast. I loved that story because it codified why I always found MacNicol such a fascinating actor. He always exudes that unpredictable tension. It takes so much discipline but yields such wonderful results.

[Alex10]

Posted: 4/14/16 at 11:35am

WhizzerMarvin said: "Have either of you seen Midnight Special yet? Another terrific film performance. He really is a special talent and I'm glad he appears to be equally devoting to film and stage work. 

 

"

Adding onto the thread to say that even though I was generally very disappointed by Midnight Special, I'm still thinking about his incredible performance a month later. I'm a huge fan of Shannon, and he's the main reason I want to see this production. Glad to hear that the rest of the cast is also doing a great job (and I appreciate the warnings about house right!)

[neonlightsxo]

Posted: 4/18/16 at 10:25am

I had the opportunity to see the production again this past weekend, and do believe it is better and sharper than the first preview. I still have the same reservations about Lange's performance as I described earlier, but they are all deeper into their characters than the first week, and I will still be recommending this production.

[Kristie-K2]

Posted: 4/18/16 at 8:26pm

Took Amtrak to Manhattan to see Jessica Lange and was not disappointed.....She was Great and will be nominated for a Tony. I love love love Michael Shannon....I would love to see a Nomination for him.

Took us three days to get to Manhattan but it was worth it

 

 

[alliesinger]

Posted: 4/20/16 at 3:30pm

Saw this last night, and I'm giving it a little bump. Runtime was 3:43 — first half about 90, 15-or-so minute intermission, then the rest. I was concerned about sitting that long (and, admittedly, the audience was a little more restless than I'm used to) but the last act flew by. 

The woman next to me ate a turkey club during Act 2. I mean, come on. It's not THAT long, people.

[BroadwayBoy214]

Posted: 4/20/16 at 9:17pm

I'm seeing this soon, and I can't wait. I'm a big Michael Shannon fan.

I read the earlier posts that said the cast hasn't been signing at the stage door which is understandable due to the length of the play, but was just curious if they have recently.

 

 

 

[Kristie-K2]

Posted: 4/20/16 at 10:34pm

John Gallagher(very sweet) and Michael Shannon came out last Wednesday

[Callum_brown1]

Posted: 4/20/16 at 10:42pm

I'm making a trip over from London at the beginning of June and am hoping to see this and Gillian Anderson's A Streetcar Named Desire while I'm here. I'm yet to book my ticket for LDJIN and after reading the responses here so far, it seems that both sides of the auditorium have their issues. However the lack of available central searing plus the $67 price tag of the Orchestra Boxes mean that they'll probably be the seats I end up choosing - the closeness to Jessica naturally being another factor. So my question would be Box AA or Box BB? If I'm understanding correctly the staircase is on stage right so Box BB (house right) will give the best views of JL? Additionally should I go for Seat 1/2 as they'll be closest to the stage? Or is this view more restricted? Obviously I'm not expecting the box seats to be perfect but I would be appreciative of anyone who's sat in the Orchestra Boxes to give some advice on where to pick. Thanks so much!

[followspot]

Posted: 4/21/16 at 12:00pm

^ I've seen this production and know the theater well.  In this case, I'd choose the $67 rear mezzanine seats.  It's a small house, and all box (and far side) views for this staging are problematic.  My two cents.

[the.hard.part]

Posted: 4/21/16 at 12:50pm

If you want to be close to Lange, house right. However if you want to see her face for the bulk of the show House left. I sat C 4/6 and was close to Lange but her back was to us for a good chunk of the show.

[Auggie27]

Posted: 4/21/16 at 12:55pm

Lange's relationship to house right, including the front mezz, where I had superb seats, is a controversial topic.  See above. Her performance is strong from wherever you are located; but expect to miss her face through (too) much of the first two and a half acts. I hope the press is seated in the middle, and imagine that the case. 

[neonlightsxo]

Posted: 4/21/16 at 12:55pm

followspot, I don't think there are rear mezz seats available. They didn't mention them in that post. They only mentioned the boxes.

[followspot]

Posted: 4/21/16 at 1:09pm

^ I checked a half dozen dates in June before posting and there were $67 rear mezzanine seats available for all of them.

[neonlightsxo]

Posted: 4/21/16 at 1:15pm

OK. My bad.

[JudyDenmark]

Posted: 4/21/16 at 3:37pm

I sat in the 6th row orchestra, way house left, and I thought it was a pretty flawless view. I hadn't read this thread, and was surprised when I walked in that it looked like the set had been rotated to directly face my seat! 

 

Echoing all of the Michael Shannon praise. I didn't really know him from other things and thought he was phenomenal. All five of them are giving a hell of a performance.

[Callum_brown1]

Posted: 4/21/16 at 6:12pm

All of your responses have been so helpful - thank you so much! Yes, for the dates I'm in NY (2nd-7th June) the centre orchestra is largely full for most performances. Just can't imagine myself paying an extra $80 to sit in C10/E14/G17 etc compared to orchestra boxes. However orchestra L113 is available on the Sunday performance if that would be a recommended seat, or is too far away in comparison to the mezzanine? Otherwise, yes, my choices would be boxes, side front mezzanine and centre rear mezzanine. Thank you again.