So excited to see Mary-Louise Parker back on stage!
Tony and Emmy Award-winning actress Mary-Louise Parker will star in the Manhattan Theatre Club-MCC Theater co-production of Sharr White's The Snow Geese, a new WWI-set drama about a family facing a changing future, which will have its world premiere at the Samuel J. Friedman Theatre on Broadway this fall.
Daniel Sullivan (The Merchant of Venice), who directed Parker (Hedda Gabler, How I Learned to Drive) in the Tony and Pulitzer Prize-winning play Proof, will helm the production that begins previews Oct. 1 toward an Oct. 24 opening night. The Snow Geese will play an 11-week Broadway engagement.
Playbill.com
yaaaaaaaaaaaaaay
Can't wait. I love that woman!
Great to see Parker returning to New York in a new play. Also great that Sharr White is getting to present a new work on Broadway after the success of THE OTHER PLACE at MTC.
I have been so anxiously waiting for Mary-Louise Parker to return to the stage, as I've never seen her on Broadway before but have become a huge fan of her work!
AC, I'm very excited to see Parker back in NY, especially since she was vocal about her dislike toward the bad press and the bad reviews surrounding the NY theatre scene when she did HEDDA GABLER. I saw her in DEAD MAN'S CELL PHONE and while I really disliked the play, I thought she was luminous. It's also great to see her working with Sullivan again, I hope this is a good one, can't wait to see her.
Although Parker's role is large, I'd say the actual "leading" role is the younger son.
ray, I thought about her reaction to the bad Hedda press when I saw The Snow Geese headline too. Parker's trials and tribulations with Hedda are a cautionary tale for any actor: If you take a gig with Roundabout, especially at the American Airlines, you run a great risk turning in a bad performance, no matter your talent level or past experiences. No one suffered the Roundabout curse worse than Parker in the past five years.
That said, I'm thrilled she's coming back to the stage!
Whizzer, I remember at the time she said that she had talked to Laura Linney about the bad press (mentioning how they were both discouraged to do theatre in NY), which has an interesting relation to your comment since Linney had just gotten terrible reviews for LES LIAISONS DANGEREUSES at the American Airlines too! So you definitely have a point.
Can anybody that saw Hedda describe why it went so horribly wrong? When I was first looking into Parker's theater work years ago, I noticed this was a major blemish according to critics, etc. but I never saw a clear reason. How was Parker's performance?
Understudy Joined: 8/20/08
Kad- Have you read the play? Is it any good? I'm curious to know the ages of the sons.
Also, what did Mary-Louise Parker say about her bad press for Hedda Gabbler?
Flailing. I am flailing.
HEDDA was such a monumental disaster from the second the curtain went up to when it came down, it should be studied as a way NOT to do a show. If I remember correctly, the first thing you saw when the curtain rose was Parker, laying upstage on a windowsill (?) with her back to the audience and her bare ass in display.
And also remember that not long before this production, Cate Blanchett's version played to sold out houses at BAM, so that stunning and brilliant version was still fresh on people's minds.
Updated On: 4/10/13 at 09:10 PM
The play is pretty good. The sons are late teens/early twenties. Young men.
"Parker's trials and tribulations with Hedda are a cautionary tale for any actor: If you take a gig with Roundabout, especially at the American Airlines, you run a great risk turning in a bad performance, no matter your talent level or past experiences."
Please.
Don't blame Roundabout as the blame falls squarilly on Parker's performance. Ian Rickson, though misguided in certain choices in this production, had no chance directing Parker. She was determined to play the same role she's played on stage...well...for as long as I've seen her on stage (Proof, Reckless, Dead Man...). Her Hedda was Nancy Botwin doing Hedda Gabler: a modern woman transposed to the nineteenth century. In essence: an anachronism.
And yes Jordan, you're right. Blanchett's Hedda was mind blowingly good (pun intended...) as was Eve Best's Hedda not long before in London. Parker's failure was only exasperated by that fact.
I'm glad to see Parker come back to the stage in a new play...but you'll never catch me near anything she's doing remotely considered "classical" ever again.
Oh. Good thing that it was only Mary-Louise Parker in that production and she made every. single. decision.
Broadway Legend Joined: 9/16/07
I think you meant exacerbated.
Her failure was pretty irritated.
"Whizzer, I remember at the time she said that she had talked to Laura Linney about the bad press (mentioning how they were both discouraged to do theatre in NY), which has an interesting relation to your comment since Linney had just gotten terrible reviews for LES LIAISONS DANGEREUSES at the American Airlines too! So you definitely have a point."
...ugh. And she made that horribly obnoxious comment about she and Linney being tv/film people who do theater but "don't be mean to us or we won't come back!!"
MLP being obnoxious
Thank you Phillis...yes I did. Oh, and "squarely."
Kad: what the hell are you talking about? My comment was directed to MLP's failed performance, not that failure of a production.
It's called "THE SNOW GEESE"? My first reaction was, it's a comedy, right? Like Springtime for Hitler? What an awful title.
Sorry, I had initially understood your post as laying the blame squarely on Parker for the production's overall failure.
I still think that the director and Roundabout's artistic directors deserve blame for not having the balls to do anything.
"...ugh. And she made that horribly obnoxious comment about she and Linney being tv/film people who do theater but "don't be mean to us or we won't come back!!" "
Play, if you are going to use quotes, then one has the expectation that's her quote, not some nonsense you made up and threw quotes around. Her point was not that she wouldn't come back if people didn't give her good reviews but was in reference to things being said about supposed backstage behaviors and feuds that she felt weren't true and weren't fair. The point was that she does theater cause she loves it and seeing things like that affected her love for doing it. But she wasn't saying she wouldn't come back.
You want to take issue with her or her performance, fine, but don't make up imaginary quotes to do it.
Play Esq, Of course I what a said was written tongue in cheek. I'm only half joking when I say there is a curse on the American Airlines though. For the past 5 years, with few exceptions, there has been clunker after clunker. Even on the greatest stage actresses of our generation, Cherry Jones, had her talents muted in Mrs. Warren's Profession.
Parker was playing it horribly modern, but as Kad mentions it's the job of the director and Roundabout to take note and attempt to fix the product they are handing to the public.
For why Hedda was so bad? Well other than Parker being just awful the rest of the cast and production were no great shakes either. Michael Cerveris gave the most respectable performance, but it felt dull compared to the other jarringly bad performances.
Peter Stormare was particularly bad, and like Constantine in J&H right now, he used 10 different accents over the course of the evening.
Everything was so inept and the text felt so buried under everything. If I didn't know better I would have walked out thinking it was a terribly written play.
Featured Actor Joined: 12/18/05
That Roundabout version of Hedda was one of the most ridiculous things I've ever seen on a stage. I'm relying on my imperfect memory, but I think the biggest problem was that none of the main roles was played in a manner that resembled any human behavior I've come across. (Helen Carey's low-key, touching performance as the put-upon aunt was the only good one I can recall.)
Peter Stormare was probably the worst of a very bad bunch -- he came off like a parody of a 1970s swinger, quite similar to Steve Martin and Dan Aykroyd's "wild and crazy guys" on Saturday Night Live.
And Mary Louise Parker's Hedda came across as insane from start to finish. In addition, her romantic interplay with Lovborg was so obvious and overly sexualized that her husband (Michael Cerveris) would have had to be literally blind not to notice it. (I may be exaggerating things at this late date, but I seem to remember that one conversation in the living room culminated in Lovborg sticking his hand up Hedda's dress and apparently fingering her.)
I definitely still remember that, as the lights went up for intermission, I had to make a conscious effort to close my mouth -- I had actually been gaping in disbelief.
Having said all that, I also remember that the show was often entertaining and had a lot of vitality -- I don't recall ever being bored.
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