I would agree somewhat about MENAGERIE - it's not a text I personally have much love for, but the recent revival was about as stunning an interpretation as I could ever hope for. I find that text holds me at a distance, which I think is deliberate, it's a cold, alienating story... but that Gentleman Caller's scene was as vibrant and electrifying as any scene in all of NY theatre last year.
When I first watched BRIDGES OF MADISON COUNTY, I took a friend as a gratitude for having taken me to LAST FIVE YEARS at Second Stage. I found that, as two fans of JRB, we were generally more optimistic than the rather ho-hum audience reception we felt around us. We acknowledged there was work to be done, it was early in previews, but we thought there was promise if they just sharpened the story down to its main parts and deepened the characters. When I went back with comps towards the end of the run, I found to my dismay that, while they had tightened the show, they had done no deepening of the characters at all. They still were gloriously-voiced cardboard cutouts of human beings to my eyes. The music I had already taken to, and on second viewing I was able to view the show the music serves and realize that my ears had deceived me; there was less there than the sum of its aesthetically pleasing parts.
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.