I inquired today at the box office. The man who helped me was uncharacteristically self-effacing and pleasant. He said that, unfortunately, they still don't have any kind of rush policy finalized yet.
When I asked if he thought it would make a tremendous difference to sit in the last two rows of the mezzanine, he explained that it didn't, as far as he was concerned, and so I bought a ticket for Mezzanine Row J. He was right. The views are perfectly fine up there.
I agree with Whizzer. Angela looked stunning in her peach suit and can do no wrong. I, too, am the wrong person to pick her apart critically. The truth is, though, she came in to the room with the proper burst of energy - "a mix of coziness and steeliness," as per Mr. Vidal's description of the character from the script. Lovely, lovely work.
The part is small, however. I wouldn't be surprised at a lack of Tony nomination. Estelle Parsons did a similar amount of work in "Good People," also perfectly marinated in character, and was left out, too.
Larroquette and Bergen, especially in the first act, often talked like they were acting for a camera rather than a theatre audience. Larroquette really picked up steam in the second act. Just when I thought he was sleepwalking through his performance, he took me for a spin, proved me totally wrong and ultimately moved me very much.
McCormack is handsome as ever, right from the soles of his feet up to his slick hair and shoe-button eyes. His very slight, wavering southern accent is odd and sometimes distracting, but the effort was valiant. He inhabits the character very well - he represents all that is wrong about American politics, and in that he symbolizes corruption and baselessness, and yet his portrayal is vested enough that we can believe that HE believes that he is doing no wrong. His scruples are truly that far-gone.
Butler seems more comfortable than anyone on the stage and is often very funny. Her southern accent is a bit over the top, but it is also light, airy and entertaining. She fills the stage with energy, plays coy very well and will ultimately prove an asset to this production.
Jones is the number one reason to attend. He sweats more talent than most actors have. His character, former president Hofstader, enjoys the sparring of the younger politicians like a housewife enjoys her soaps, and the audience clearly enjoyed HIS enjoying. He commands the stage, often threatening to take it away from those who share it with him, but this will surely even out soon enough. He is deliciously entertaining here - there is no mistaking that.
Bergen is unshowy in an unshowy role, and seemed the least comfortable on stage. However, she does manage sarcastic verbal spparing with Butler very well, and she also brings out much pathos in her intimate scenes with Larroquette. She is a welcome presence.
Dakin Matthews is terrific in his small but juicy role, chewing up scenery and garnering laughs, and Michael McKean is also a reliable theatrical presence in a role with limited wiggle room.
Jefferson Mays does very specific character work brilliantly as a former friend of Cantwell's brought around to dredge up incriminating information about him. He is meek, shy and thoroughly unremarkable, which can be surprisingly difficult to pull off. He incurs sympathy very quickly.
The show, however, is not tight at all, and is nowhere near ready to open. Doors open and shut at the wrong times, with hands reaching out and closing them, sets clunk into place without rhythm, and the actors bump into set pieces, sometimes knocking them down. At one point, a human presence was seen on the (at the moment unused) background set, quickly darting off.
Jones sent a telephone falling to the floor as he headed for the door in one scene. To his credit, he didn't even miss a shred of a beat.
It seems that the actors have been rehearsing with each other for some time, but that they have been rehearsing on this set for 3 or 4 days.
The medical incident occurred at approximately the point when Larroquette and Jones discuss the fact that secretaries of state are practically viewed by the public as foreigners. Suddenly, Jones called for a doctor in the house, and a stage manager ran out to attend to him. He said something like "no, not me, someone for him" and pointed into the audience. Then, the curtain fell.
By the time the curtain came back up again Larroquette and Jones were frozen in place, looking at each other, smiling, and laughs could be heard throughout the house. ("Let's pretend that nothing happened, and watch them pretend it, too.") It was fascinating to see them repeat about two minutes' worth of dialogue performed earlier, including Jones exclaiming "Hell no!" to comic effect in one the more memorable, and illustrative, scenes of the play.
Seeing Angela come out for her solo bow, and gracefully kind of walk to the side, acknowledging with her body language the larger work of the other above-marquee actors bowing alongside her, was very moving indeed. The woman personifies dignity and class.
The play is far from perfect, which is what should be expected from a still-not-embittered Vidal, in his 30s when he wrote it. It nonetheless still represents him and his views strikingly well, and for that reason I love it. I consider him a personal hero.
The evening was very special. I look forward to seeing "The Best Man" again when it opens.
2010
Feb. 28 - Looped, Feb. 28 - Next to Normal, March 4 - Hair, March 11 - A Little Night Music, March 24 - Time Stands Still, April 6 - La Cage Aux Folles, April 10 - Anyone Can Whistle (City Center), April 10 - Looped, May 9 - Enron, May 15 - A Little Night Music, May 15 - A Behanding In Spokane, May 30 - A Behanding In Spokane, May 30 - A Little Night Music, June 20 - A Little Night Music, June 23 - Red, June 23 - Sondheim on Sondheim, July 13 - A Little Night Music, July 18 - The Grand Manner (Lincoln Center)
Updated On: 3/7/12 at 01:57 AM
