I did. Hardly remember it except for being annoyed that it took a slot while I was in London and that it was tiresome. It was selling very well before the reviews came out, so I took a chance.
Google reviews of the National production and you’ll see what I mean.
I saw this at the National just before shut down and was bowled over. My favorite new play since Ferryman, and now Stereophonic has taken that place. A BRILLIANT piece for women - I just hope it works with American actors.
"I know now that theatre saved my life." - Susan Stroman
Caught this at the Atlantic and loved it. It's an ensemble cast historical play about a woman accused of murdering a child who is presented to a jury of 12 women who must decide whether she is truly pregnant and should be banished instead of executed. It's anachronistic, including a BIG swing set piece in the second act that will definitely divide response. I expect critical and audience responses to be all over the place, but I found it gutsy, sincere, and thought-provoking.
I loved it too. Acting as finely calibrated across a large cast as you see here is extremely rare nowadays. Kudos to director Sarah Benson. It's a true ensemble piece, although Sandra Oh, in what is arguably the central performance, is remarkable in her return to the New York stage. The play will not be to all tastes, and it's certainly not an easy night at the theater, but I haven't stopped thinking about it for days. That, to me, is the mark of a great work.
"You travel alone because other people are only there to remind you how much that hook hurts that we all bit down on. Wait for that one day we can bite free and get back out there in space where we belong, sail back over water, over skies, into space, the hook finally out of our mouths and we wander back out there in space spawning to other planets never to return hurrah to earth and we'll look back and can't even see these lives here anymore. Only the taste of blood to remind us we ever existed. The earth is small. We're gone. We're dead. We're safe."
-John Guare, Landscape of the Body
I liked it, as well! It's a bit overstuffed and somewhat overly ambitious, but I'd much rather that than a mindless slog, like most of the things on Broadway right now. Sensational performances all around - and, yes, LOTS to discuss and think about afterwards.
If I had to elevator pitch it, it's like TWELVE ANGRY MEN x WOMEN TALKING x THE CRUCIBLE - and while not as consistently strong as those works, it's rousing nonetheless. Atlantic has been killing it lately.
Thank you Sauja, AC126748, WiCkEDrOcKS and Synecdoche2 for the feedback. I am so glad that I asked. I have my ticket for next week and really looking forward to it.
WiCkEDrOcKS said: "I liked it, as well! It's a bit overstuffed and somewhat overly ambitious, but I'd much rather that than a mindless slog, like most of the things on Broadway right now. Sensational performances all around - and, yes, LOTS to discuss and think about afterwards.
If I had to elevator pitch it, it's like TWELVE ANGRY MEN x WOMEN TALKING x THE CRUCIBLE - and while not as consistently strongas those works, it's rousing nonetheless. Atlantic has been killing it lately."
Could not agree more with those comparisons, and what good company to be in as The Welkin certainly holds its own held up against those pieces. My jaw was on the floor by the end!
"The Welkin is all muscle — taut and intense and, in Benson’s fascinatingly un-English production, energized not only by its moral indignation but by its sense of humor, and by the specific humanity of each of its large cast of characters."
"And what a delight it is to see a large ensemble on stage together and a theater company not afraid to give them that space to perform.
“The Welkin” is a two-act play that clocks in at a little over two and a half hours. If that sounds like a trial, it is not. I haven’t laughed this much in the theater since I last saw Cole Escola’s comedy “Oh, Mary!”"
This was such a dark roller coaster ride that I really enjoyed. Great cast and direction. Lots of memorable stage pictures. Have been thinking about it a lot since Wednesday. Very grateful for The Atlantic.
Unfortunately, the directing isn't great. She never creates a cohesive tone with the mix of old world and modern which is what was stronger at the National. It is melodramatic and uneven. The set at the Atlantic feels cheap and poorly designed - those curtains for one. There are a few good performances but it has not found itself here in the US with this director, cast or production.