#1
Posted: 3/24/11 at 10:51am
Saw the show last night at the Public.
I liked it quite a bit. It's good, but not the best thing I've seen in awhile. It's too bad that it's being hyped up as the theatrical event of the season because, as written, I don't think it is that at all. For me, it's just not an eventful piece of theatre. But that's not a bad thing; not every play has to be "an event." I love Kushner and I was waiting there for an angel to fly on or a singing moon, but that never happens. It's not a bad thing by any means; it's just not exactly what I was expecting.
The show clocked in at precisely 4 hours. We were on the street by 11:05. The show needs a little more meat to justify that kind of time commitment. There were a few speeches (mostly those of the father- Gus- and the daughter- Empty) that seemed to stretch on to eternity.
I loved the first act. I thought it was clever, thoughtful and refreshing. The second act left me a little cold; the talking over one another tactic works to me for a little but eventually just becomes numbing. I was also shocked by how farcical the second act became. It worked, in some ways, but it obviously needs some tightening. The third act was nice, but a little preachy. The ending hit hard.
The story is quite simple. A father of three children announces to his children that he plans to kill himself after a failed attempt a year earlier. The family takes a vote and decides that a consensus (agreeing or disagreeing) must be reached before the committing will be done. The play's journey follows those votes and reaching that consensus- one way or the other.
The performers were great with the exception of K. Todd Freeman, who I was just outright confused by. An off night, I'd hope.
Michael Esper is a refreshing, young jolt of life in the show. He could use a bit more sharpening, but, for me, he was the show's heart. Stephen Spinella is fine, a bit cartoony perhaps. Linda Emond is great - very natural, you feel her pain- but her character suffers from some of the evening's most sleep-inducing speeches.
Michael Cristofer, whose character is at the show's center, is great. His big act one speech is without-a-doubt the show's highlight. Once you see the show, you'll know what I mean. Fabulously written and expertly performed. There were audible reactions throughout the entire audience. Great moment in the theatre.
The ensemble supporting cast is fun. It could all just use to some tightening. Danielle Skraastad scores big laughs with the her act two opener. She's great comedic relief, but her character's relationship with Empty seems to be one of the show's most troublesome points.
It's a good play. Kushner just needs to do some real editing. Off the top of my head, a long speech about phones ringing in the theatre at the top of the show seems out of place in retrospect and could probably be cut. Other endless speeches (most about the BIG words that fill the play's title) could also be cut down.
A good thirty minutes needs to be cut from the show. It's simply running too long. There are moments of absolute brilliance, but, then again, there are many moments of awkward schtick and some philosophizing that zoomed over the heads' of audience members and never amounted to anything.
This one has potential to be a great American play. But it's not there yet.
I liked it quite a bit. It's good, but not the best thing I've seen in awhile. It's too bad that it's being hyped up as the theatrical event of the season because, as written, I don't think it is that at all. For me, it's just not an eventful piece of theatre. But that's not a bad thing; not every play has to be "an event." I love Kushner and I was waiting there for an angel to fly on or a singing moon, but that never happens. It's not a bad thing by any means; it's just not exactly what I was expecting.
The show clocked in at precisely 4 hours. We were on the street by 11:05. The show needs a little more meat to justify that kind of time commitment. There were a few speeches (mostly those of the father- Gus- and the daughter- Empty) that seemed to stretch on to eternity.
I loved the first act. I thought it was clever, thoughtful and refreshing. The second act left me a little cold; the talking over one another tactic works to me for a little but eventually just becomes numbing. I was also shocked by how farcical the second act became. It worked, in some ways, but it obviously needs some tightening. The third act was nice, but a little preachy. The ending hit hard.
The story is quite simple. A father of three children announces to his children that he plans to kill himself after a failed attempt a year earlier. The family takes a vote and decides that a consensus (agreeing or disagreeing) must be reached before the committing will be done. The play's journey follows those votes and reaching that consensus- one way or the other.
The performers were great with the exception of K. Todd Freeman, who I was just outright confused by. An off night, I'd hope.
Michael Esper is a refreshing, young jolt of life in the show. He could use a bit more sharpening, but, for me, he was the show's heart. Stephen Spinella is fine, a bit cartoony perhaps. Linda Emond is great - very natural, you feel her pain- but her character suffers from some of the evening's most sleep-inducing speeches.
Michael Cristofer, whose character is at the show's center, is great. His big act one speech is without-a-doubt the show's highlight. Once you see the show, you'll know what I mean. Fabulously written and expertly performed. There were audible reactions throughout the entire audience. Great moment in the theatre.
The ensemble supporting cast is fun. It could all just use to some tightening. Danielle Skraastad scores big laughs with the her act two opener. She's great comedic relief, but her character's relationship with Empty seems to be one of the show's most troublesome points.
It's a good play. Kushner just needs to do some real editing. Off the top of my head, a long speech about phones ringing in the theatre at the top of the show seems out of place in retrospect and could probably be cut. Other endless speeches (most about the BIG words that fill the play's title) could also be cut down.
A good thirty minutes needs to be cut from the show. It's simply running too long. There are moments of absolute brilliance, but, then again, there are many moments of awkward schtick and some philosophizing that zoomed over the heads' of audience members and never amounted to anything.
This one has potential to be a great American play. But it's not there yet.
