That outburst was crazy. I've never witnessed anything like it at the theater. At first I thought he was part of the play because he was projecting and enunciating so well; despite using her name it still felt like lines of dialogue. Then it became clear that he was a crazy stalker, but the first usher who approached him wasn't able to remove him from the mezz (he got up from his seat, but then plopped down in the aisle and wouldn't move). Personally, I don't blame the usher because certainly seemed unstable and could have been a danger to all those around him.
When he threw the flowers he was practically tackled and carried out by several people. Ebert did kick the flowers into the wing, but hardly in character. He scowled out into the audience and seemed rather pissed off. It was an absolutely horrible way for the actors to begin the run of their show and I feel for them. Unfortunately for the audience the rest of the performance paled in comparison to the excitement disturbance, as the play limped along to it's tepid conclusion.
I'd like to just give everyone a pass for being thrown off their games, but this adaptation of the novel was not the greatest. All the tension and examination of human nature from the original story was diluted and the entire second act felt like we were watching the same scene over and over again.
Accents were all over the place (one of these productions where, despite being set in France, everyone must speak in some sort of British accent whether they be American, English or Welsh born). I didn't really care for Ebert's performance here, and I'm one of the apparently few people who enjoyed Preludes! Maybe it was the way Camille was written, but the comedy was so broad and he certainly didn't come off as sickly and nebbish.
Knightley was fine, but her character barely speaks in the first 45 minutes of the play (and Light's character doesn't speak for the last 45 minutes), so I think the story might be better suited for film or an intimate space where the actors can solely rely on their facial expressions to convey emotion and meaning.
Madame Raquin has been written in a softer manner than I normally think of the character. She's not at all overpowering or selfish. Therese isn't treated like the indentured servant she sometimes appears to be, and as a result her longing for freedom doesn't feel as strongly motivated.
The pacing was so sluggish and the direction so uninspired that it was hard to care about the proceedings at all. Flawed as it was, I think the most recent Jessica Lange film version was far better than what Roundabout is putting on.
Marie: Don't be in such a hurry about that pretty little chippy in Frisco.
Tony: Eh, she's a no chip!