More Grace McLean support here. The larger space of the Imperial has diluted – or maybe just re-contextualized – the show’s “wow” moments, all of which felt more explosive at Kazino, but Grace still registers what is a relatively minor role, material-wise, in a big way. I’ll also add lots of love for Gelsey Bell’s Princess Mary, who knocks it out of the park. I’ve seen a few different Marys, but nobody can touch the range of emotions she wrings out of those couple of short scenes.
My opinion of THE PRICE was higher than the general opinion, and most of the talk of the acting was around Ruffalo and Devito – and deservedly so – but I thought Tony Shaloub and Jessica Hecht were equally exquisite. The production was so smartly focused on the text and the performances, and as an ensemble, they really delivered. (So kudos to director Terry Kinney on that score, too.)
Also, Michael Emerson’s (what I call) stylized naturalism was the perfect fit for Will Eno’s WAKEY, WAKEY, hilarious and fatalistic and sad and scary, and to echo an early thought about another (mostly) one-man show, Simon McBurney’s tour-de-force performance in THE ENCOUNTER – along with the play itself – just left me breathless.
And lastly, while I enjoyed everything about Branden Jacobs-Jenkins’ EVERYBODY, Marylouise Burke as Death is what I’ll probably remember most about it five years from now.
CHURCH DOOR TOUCAN GAY MARKETING PUPPIES MUSICAL THEATER STAPLES PERIOD OIL BITCHY SNARK HOLES
