#1
Posted: 9/22/08 at 1:49am
So, completely spur of the moment on September 20th, my boyfriend and I decided to rush "All My Sons" after rushing "Spring Awakening." I was going to wait and get great seats for Christmas possibly from my parents (being a basically broke college student and all), but I was dying to see it. So, we did just that.
The set is sparse, to say the least. The floor is a square of grass. On each side, the audience can see backstage since there are no curtains. There are also chain link fences on either side of the yard. The back wall is a wall of wooden plank that stretches into the rafters. There is a screen door placed stage left and decking next to it. And, downstage right in the corner, is the tree in overhead lighting. No set pieces but the tree. One might, at this point, be thinking, "Wtf?" Don't worry. So was I. My fears were assuaged.
The cast walked onstage with table and chairs for backyard setting. John Lithgow announced to turn off all cell phones, etc. and then went right into the production. The following is what happens:
"We are here for you today to perform Arthur Miller's play 'All My Sons.' The author sets our scene: 'The Keller family's backyard in the outskirts of an American town *cue projection of 'outskirts of American town' on wall*... our era. *cue projection* *blackout*'" An interesting beginning to the show. From there, the oft-mentioned storm is performed with admirable intensity, including the uprooting of the tree and an impressive amount of technical flair. It is in this moment that we realize just how mesmerizing and stunning this production is. In this opening moment.
I will not go into too much more explicit detail, so as not to ruin anything else for you. Simon McBurney has chosen, instead of presenting a literal imagining of the Keller home and neighborhood, to project the Keller home whenever someone enters or exits the house and to project the sky at it's time of day when the door is not being used. He also utilizes video projection from time to time to brilliant effect. (You'll see.) Of course, these choices do not hinder the production whatsoever. They merely enhance the intensity of this already rather intense play.
The performances here are spectacular. John Lithgow plays Joe Keller perfectly as a man so visibly crippled by guilt. It is truly amazing to see him perform. Patrick Wilson brings a great maturity to Chris Keller. The relationship between Joe and Chris is remarkable here, showing a very real and obviously understanding portrayal of a father and son at a turning point. The real test of these actors' abilities comes halfway through Act Two (end of Act Two in the written script) in a particularly visceral confrontation. It's a killer. Truly. But I don't want to spoil it. Katie Holmes is... surprisingly impressive. I'm not speaking from the place of someone who has never seen her work. I've seen her act quite a bit. I'm not a fan. But I found her to be very in touch with the character of Ann. She is especially good at Ann's most emotional moments. Act Two is where she truly comes alive. Anyone with doubts about her casting should see now why she was cast. Talent as much as ticket sales. Maybe more. The supporting cast is also very good. In particular, Lydia and Sue (played by Danielle Ferland and Becky Ann Baker, respectively). They make the most of two supporting roles and make them just as memorable as our four leads. Their husbands, Frank and Jim (Jordan Gelber and Damian Young) are somewhat less memorable, but only because they are written less memorably. They are both fine actors who fit in very well with the rest of the production. It is only Christian Camargo who doesn't fare quite as well as the rest. He begins just fine as George, but beigns to drift off into unchartered territory, it seems. He didn't seem entirely comfortable in George's skin yet (even finding it difficult to find a comfortable accent for the character). I'm sure, in time, he'll find the way to right his ship. It was, after all, only the third preview.
Now... Dianne Wiest. Holy mother of God. If this doesn't win her a Best Actress Tony, I'll make her one myself and present it to her. Sure, Amy Morton is giving the performance to see across the street. Yes, Patti LuPone is turning in one bitch of a performance a street over. But what everyone will and should be talking about in just a few weeks is Dianne Wiest. When I tell you she dives into the depths of Kate Keller's soul and embodies this woman, I mean it. And, in a way I never imagined Kate, she portrays her character in a domineering way that occasionally teeters on terrifying. This is not to say she loses sympathy. No no no no. Dianne makes it very clear through some brilliant character layering that she is this way because of guilt, rage, sadness, and loss. You pity her plight from the moment she begins to show her thoughts. It is a beautiful, heartbreaking performance. She absolutely runs away with the show. But that is not to say that the other performances aren't equally as pitch-perfect. It is with their help that she is even able to bring such emotion to her character.
I don't know what else there is to say about it. If there is anything you need to know, please don't hesitate to ask. I'd be glad to answer any questions. If you want to know what show to see, this is your ticket. Yes, it's still in previews, but don't waste another day. See it and see it again. It's the most powerful theatre experience of my life (and I've seen "August" twice). It's stunning. There is no better word for it. It's as close to flawless as a production gets. IN ONLY THE THIRD PREVIEW.
See it now!
The set is sparse, to say the least. The floor is a square of grass. On each side, the audience can see backstage since there are no curtains. There are also chain link fences on either side of the yard. The back wall is a wall of wooden plank that stretches into the rafters. There is a screen door placed stage left and decking next to it. And, downstage right in the corner, is the tree in overhead lighting. No set pieces but the tree. One might, at this point, be thinking, "Wtf?" Don't worry. So was I. My fears were assuaged.
The cast walked onstage with table and chairs for backyard setting. John Lithgow announced to turn off all cell phones, etc. and then went right into the production. The following is what happens:
"We are here for you today to perform Arthur Miller's play 'All My Sons.' The author sets our scene: 'The Keller family's backyard in the outskirts of an American town *cue projection of 'outskirts of American town' on wall*... our era. *cue projection* *blackout*'" An interesting beginning to the show. From there, the oft-mentioned storm is performed with admirable intensity, including the uprooting of the tree and an impressive amount of technical flair. It is in this moment that we realize just how mesmerizing and stunning this production is. In this opening moment.
I will not go into too much more explicit detail, so as not to ruin anything else for you. Simon McBurney has chosen, instead of presenting a literal imagining of the Keller home and neighborhood, to project the Keller home whenever someone enters or exits the house and to project the sky at it's time of day when the door is not being used. He also utilizes video projection from time to time to brilliant effect. (You'll see.) Of course, these choices do not hinder the production whatsoever. They merely enhance the intensity of this already rather intense play.
The performances here are spectacular. John Lithgow plays Joe Keller perfectly as a man so visibly crippled by guilt. It is truly amazing to see him perform. Patrick Wilson brings a great maturity to Chris Keller. The relationship between Joe and Chris is remarkable here, showing a very real and obviously understanding portrayal of a father and son at a turning point. The real test of these actors' abilities comes halfway through Act Two (end of Act Two in the written script) in a particularly visceral confrontation. It's a killer. Truly. But I don't want to spoil it. Katie Holmes is... surprisingly impressive. I'm not speaking from the place of someone who has never seen her work. I've seen her act quite a bit. I'm not a fan. But I found her to be very in touch with the character of Ann. She is especially good at Ann's most emotional moments. Act Two is where she truly comes alive. Anyone with doubts about her casting should see now why she was cast. Talent as much as ticket sales. Maybe more. The supporting cast is also very good. In particular, Lydia and Sue (played by Danielle Ferland and Becky Ann Baker, respectively). They make the most of two supporting roles and make them just as memorable as our four leads. Their husbands, Frank and Jim (Jordan Gelber and Damian Young) are somewhat less memorable, but only because they are written less memorably. They are both fine actors who fit in very well with the rest of the production. It is only Christian Camargo who doesn't fare quite as well as the rest. He begins just fine as George, but beigns to drift off into unchartered territory, it seems. He didn't seem entirely comfortable in George's skin yet (even finding it difficult to find a comfortable accent for the character). I'm sure, in time, he'll find the way to right his ship. It was, after all, only the third preview.
Now... Dianne Wiest. Holy mother of God. If this doesn't win her a Best Actress Tony, I'll make her one myself and present it to her. Sure, Amy Morton is giving the performance to see across the street. Yes, Patti LuPone is turning in one bitch of a performance a street over. But what everyone will and should be talking about in just a few weeks is Dianne Wiest. When I tell you she dives into the depths of Kate Keller's soul and embodies this woman, I mean it. And, in a way I never imagined Kate, she portrays her character in a domineering way that occasionally teeters on terrifying. This is not to say she loses sympathy. No no no no. Dianne makes it very clear through some brilliant character layering that she is this way because of guilt, rage, sadness, and loss. You pity her plight from the moment she begins to show her thoughts. It is a beautiful, heartbreaking performance. She absolutely runs away with the show. But that is not to say that the other performances aren't equally as pitch-perfect. It is with their help that she is even able to bring such emotion to her character.
I don't know what else there is to say about it. If there is anything you need to know, please don't hesitate to ask. I'd be glad to answer any questions. If you want to know what show to see, this is your ticket. Yes, it's still in previews, but don't waste another day. See it and see it again. It's the most powerful theatre experience of my life (and I've seen "August" twice). It's stunning. There is no better word for it. It's as close to flawless as a production gets. IN ONLY THE THIRD PREVIEW.
See it now!
