I think Brown is conflicted about where to go with her Mary.
The character as intended for the stage version (and as originally created in the novels) is supposed to have a much darker edge in contrast to the more chipper Mary from the film. Brown seems to be wanting to add more warmth and humor to the role while still playing up the more withdrawn aspects too, and the resulting performance comes off as awkward and unbalanced.
I disagree with your statement that she has no comedic ability. I think alot of the little mannerisms she adds in to get extra laughs show the makings of a performer with some strong comedic instincts, but they don't really work within the context of this particular role. I believe it was Ben Brantley who said something along the lines of Brown adding "the ocassional humorous gesture to show she has a sense of humor even when Mary does not," and I think that pretty much hits the nail on the head about what she is trying to do.
My personal problem with her performance was that she let her Mary get far too passionate far too easily. Mary should always be poised and completely confident even when being played in a "nicer" context, and I didn't get that from Brown (which may be due to her lack of experience as an actress,) though I did find her to be enjoyable in the role.
My guess is alot of the warmth she's trying to keep in her performance is a result of direction she's been given. What made Laura Michelle Kelly's performance so brilliant in London for me was just how likeable her Mary was even though she was consistently stolid and downright cold at times, something I think the creative team may have been weary of American audiences responding to in a negative way.
Tonya Pinkins: Then we had a "Lot's Wife" last June that was my personal favorite. I'm still trying to get them to let me sing it at some performance where we get to sing an excerpt that's gone.
Tony Kushner: You can sing it at my funeral.
Updated On: 6/10/07 at 11:46 AM