#1
Posted: 9/27/08 at 8:06pm
Finally, a Roundabout production that's worthwhile. Doug Hughes' simple staging of A MAN FOR ALL SEASONS showcases Frank Langella at the top of his game, delivering a spectacular performance as Sir Thomas More.
Hughes' production cuts Robert Bolt's theatrical device of "The Common Man," the narrator who plays numerous roles and sets each scene and replaces him with three or four actors. That takes some of the humor out of the play, shaves 20 or so minutes off, and, combined with David Van Tieghem's original score, gives it a more sinister touch.
I'm not entirely sure that a sinister touch is what much of MAN deserves. Hughes' production tries to provide the best of both worlds - sinister and serious and comic - the latter two work, the former doesn't, until the end of the second act. The first act drags, the second act flies - isn't that how it always is?
The cast, led by Langella, is extraordinary. For the first time in a long time, a large group of actors are all acting in the SAME PLAY (credit Hughes). For the first time in a long time, a leading actor's quiet performance doesn't deliberately outshine everyone else's (credit Langella). For the first time in a long time, every actor making their Broadway debut is worthy of making said debut.
Michael Esper is terrific as William Roper; Hannah Cabell is perfect as Meg; Michel Gill is and Zach Grenier are outstanding as the Duke of Norfolk and Thomas Cromwell.
Expect Tony nominations for Langella (duh!), as well as Maryann Plunkett as Alice and Patrick Page as Henry VIII for their performances. Page is on stage for, oh, 10 minutes, but he damn sure makes the most of it.
The only thing I couldn't figure out is why Triney Sandoval's Chapuys sounded so much like Aldopho from DROWSY CHAPERONE.
Rare is it these days that something will go down in memory as "theater lore." Laurette Taylor in GLASS MENAGERIE. Nathan Lane in THE PRODUCERS. Ezio Pinza in SOUTH PACIFIC. Patti LuPone in GYPSY.
What will go down in my memory of A MAN FOR ALL SEASONS did not occur during the show, but after. Frank Langella, having received a well-deserved standing ovation, asked the audience to sit and proceeded to eulogize Paul Newman, his friend and colleague, and lead us in a minute of silence. Langella, clearly choked up, said as the company quietly exited the stage, "So long, Paul. We'll see you on the other side." (Something like that.)
This simple act stuck out, and I will not soon be forgetting it.
Hughes' production cuts Robert Bolt's theatrical device of "The Common Man," the narrator who plays numerous roles and sets each scene and replaces him with three or four actors. That takes some of the humor out of the play, shaves 20 or so minutes off, and, combined with David Van Tieghem's original score, gives it a more sinister touch.
I'm not entirely sure that a sinister touch is what much of MAN deserves. Hughes' production tries to provide the best of both worlds - sinister and serious and comic - the latter two work, the former doesn't, until the end of the second act. The first act drags, the second act flies - isn't that how it always is?
The cast, led by Langella, is extraordinary. For the first time in a long time, a large group of actors are all acting in the SAME PLAY (credit Hughes). For the first time in a long time, a leading actor's quiet performance doesn't deliberately outshine everyone else's (credit Langella). For the first time in a long time, every actor making their Broadway debut is worthy of making said debut.
Michael Esper is terrific as William Roper; Hannah Cabell is perfect as Meg; Michel Gill is and Zach Grenier are outstanding as the Duke of Norfolk and Thomas Cromwell.
Expect Tony nominations for Langella (duh!), as well as Maryann Plunkett as Alice and Patrick Page as Henry VIII for their performances. Page is on stage for, oh, 10 minutes, but he damn sure makes the most of it.
The only thing I couldn't figure out is why Triney Sandoval's Chapuys sounded so much like Aldopho from DROWSY CHAPERONE.
Rare is it these days that something will go down in memory as "theater lore." Laurette Taylor in GLASS MENAGERIE. Nathan Lane in THE PRODUCERS. Ezio Pinza in SOUTH PACIFIC. Patti LuPone in GYPSY.
What will go down in my memory of A MAN FOR ALL SEASONS did not occur during the show, but after. Frank Langella, having received a well-deserved standing ovation, asked the audience to sit and proceeded to eulogize Paul Newman, his friend and colleague, and lead us in a minute of silence. Langella, clearly choked up, said as the company quietly exited the stage, "So long, Paul. We'll see you on the other side." (Something like that.)
This simple act stuck out, and I will not soon be forgetting it.
