Playing catch-up: my thoughts on RED, LA CAGE and some others

[Yankeefan007]

Posted: 5/27/10 at 11:08pm

RED delivers the thrills that one can only find watching live theater. True, John Logan's script isn't the most original when it comes to the answering the question "what is art," but one can look past that little flaw with the unquestionably thrilling work from director Michael Grandage, actors Alfred Molina and Eddie Redmayne and designers Christopher Oram (set and costumes) and Neil Austin (lighting). Molina's volcanic Rothko is his best stage performance in years; maybe ever. Redmayne more than holds his own. Grandage's staging is the most unobtrusive I've ever seen, and the design is just downright gorgeous. Glad the Donmar and Arielle Tepper Madover was able to bring it over.

I'm also glad that the Menier and Sonia Friedman (with the help of the Weisslers) were able to bring over Terry Johnson's production of LA CAGE which, as anyone who reads this message board knows, I've been raving for (to shill levels) since I saw it in London (with Douglas Hodge, whom I've also been raving for) a year and a half ago.The beauty of this staging is that it focuses on story and character development, and it is refreshing, especially considering the last revival's overindulgence in spectacle. As much as I enjoyed Hodge in New York, I feel that his performance has gone from heartbreakingly realistic to madcap and excessive in camp. What in London was well-rounded is now lopsided. He and Kelsey Grammer have divine chemistry and they do indeed come off as 'that old married couple.' Grammer (and his wife) have said in interviews that he's having the time of his life, and this truly does shine through in his very fine work. Johnson has cast a truly eccentric ensemble, with the downright hilarious Robin de Jesus as Jacob the butler-maid, the enchanting AJ Shively and Elena Shaddow as Jean-Michel and Anne, the great duo of Fred Applegate and Veanne Cox as the Dindons, and the one-and-only, silk-voiced Christine Andreas as Jacqueline. The Cagelles, too, are talented guys. A few nice touches here and there: mentioning that Albin almost got the lead in a tour of 'Dolly' (didn't remember that line, unless it's new) and sticking Albin in a suit that was a few sizes to large as Uncle Al.

I wonder what Tennessee Williams would have thought of Gordon Edelstein's revisionist take on THE GLASS MENAGERIE, with Tom, always the stand-in for Tennessee, now actually playing Tennessee, as he writes the play we're watching from his hotel room, where it comes to life. I also wonder what Tennessee would have thought of Patch Darragh's cynical, overtly homosexual Tom Wingfield, a fascinating character choice that Darragh nails only occasionally. Understudy Michael Simpson was impressive in what I imagine was his first performance as The Gentleman Caller. Judith Ivey's Amanda is a force to be reckoned with, the second great new interpretation of a Williams woman to hit New York in recent memory, and watching her is a master class. Keira Keeley, very nuanced, very heartbreaking, is a helluva discovery as Laura. The Gentleman Caller scene, done mostly by candle light, is just extraordinary.

Williams would probably recognize Blanche DuBois in Martha, the raging, alcoholic mother of Polly Stenham's THAT FACE, a grim, harrowing and expertly acted play, directed by Sarah Benson. It is impossibly bleak with no happiness in sight and a variety of abandoned plot points that try to define how bleak the characters are. That said, it is worth seeing for the acting, including Laila Robbins as Martha, Cristin Milioti as the daughter, Victor Slezak as the father and Christopher Abbott as the son.

Kudos if you've reached this point. I've got NEXT FALL and PROMISES PROMISES coming up and will report back, as per usual, afterwards. I know you all can't wait.
Updated On: 5/27/10 at 11:08 PM

[ljay889]

Posted: 5/27/10 at 11:09pm

As much as I enjoyed Hodge in New York, I feel that his performance has gone from heartbreakingly realistic to madcap and excessive in camp.

I respect you for this. Wasn't expecting you to write that.
Updated On: 5/27/10 at 11:09 PM

[rjm516]

Posted: 5/27/10 at 11:14pm

I completely agree with the take on Hodge. In London last summer, I was enraptured by his performance. It was absolutely fantastic. What has caused the change? Is it the direction, the adaptations to Broadway audiences, what? It's upsetting.

[HeyMrMusic]

Posted: 5/27/10 at 11:56pm

Agree with you on Red. I saw it yesterday and was enthralled. Overall, such a strong production. From the beautiful design to the fully-fleshed and explosive performances by Molina and Redmayne to the very smart direction, this deserves every accolade it has received thus far and should win at the Tonys.

~Steven

[Scripps2]

Posted: 5/29/10 at 5:45pm

I'm in agreement with your on Red and found That Face to be very over-rated when I saw the London production.

Very interested to read that Hodge has changed his performance. I wonder if this is deliberate and whose decision it was.

I'd also be interested to read your opinion of Promises Promises.