VERTICAL HOUR w/Julianne Moore - Report on 1st preview

Tonight was the first preview of the new David Hare play THE VERTICAL HOUR at the Music Box Theatre - made something even more of an event as the Broadway debut of celebrated actress (and mostly movie star) Julianne Moore appearing opposite celebrated British actor (and occasional film star) Bill Nighy.

The play centers on conservative Yale Professor, Nadia Blye (Moore) and a trip with her fiance, Philip (Andrew Scott) to meet his liberal doctor father Oliver (Nighy) in Wales. Nadia is something of a republican sympathizer, at least in terms of the Iraq war - a position that has caused her some ridicule at Yale and a situation that, of course reaches an emotional climax during her trip with her fiance.

The play is vintage David Hare; peppered with wit, and emotional discovery interlinked with political perspective. It is of course an intellectual play - though not perhaps as lofty or important as some of his earlier works (PLENTY, STUFF HAPPENS) but layered with the humor and conversationalism that made his "in-between plays" like SKYLIGHT and AMY'S VIEW accessibly enjoyable.

The play depends and thrives on the performances of its three leads: British actors, Bill Nighy and Andrew Scott are masterful as father and son/fiance balancing a distorted web of mistrust and misplaced loyalty.

Julianne Moore is not a stage novice, having appeared in two Caryl Churchill plays (over a decade ago) at the Public Theatre, but makes her Broadway debut in THE VERTICAL HOUR. Similarities will inevitably come up with last seasons big debut by Julia Roberts, and while Moore has also chosen an intellectual, challenging ensemble piece, she proves herself a fine stage actress - making the rather stoic, stiff Nadia come alive, particularly in the second act dominated by emotional revelation between Moore and Nighty.

If the play itself does not pack the emotional lingering wallop of some of Hare's other plays, THE VERTICAL HOUR is a worthy addition to his canon. A timely look at the current world politics and the long standing emotional ramifications of wanting to do what is fundamentally "right" on the moral/global platform.

Updated On: 11/10/06 at 02:19 AM

Thanks for the report, Michael Bennett, nice to see that Moore does know how to carry herself on stage. Definitely one of my favorite actresses.

Thanks Margo - I look forward to hearing your thoughts. I may have more to say on the play after I digest for a while. There is always a lot to absorb with a new David Hare work...

Thank you for the review. But please, please, PLEASE don't EVER compare Julianne Moore to Julia Roberts again. Thank you.

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I am very excited to see this show! Julianne Moore and Bill Nighy are some of my absolute favorite screen actors. Great report.

I'll be there on the 22nd...front row center.

Edit - deleted duplicate post.

Updated On: 11/12/06 at 01:00 PM

Article on The Verticle Hour from the Guardian

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Three's the charm in the thread, since I, too, am seeing it on the 22nd. I am a big Hare fan, and always find his plays require multiple viewings and readings to fully absorb (I'm still ruminating on SECRET RAPTURE, about Thatcher England.) The film version of PLENY still strikes me as underappreciated, and if anyone hasn't seen it, it is on DVD, at least at Amazon. I loved STUFF at the Public, and thought Sullivan made it tighter, more accessible, and richly theatrical.

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I'll just add my thoughts on here rather than starting a new thread:

In an era when political discussion is regarded to be the mastery of talking points on "Crossfire" or "Hannity and Colmes," nuance is a liability. Supporters of the Iraq war are mindless Bush-bots, while its detractors are anti-American terrorist sympathizers.

Just don't tell that to Nadia Blye, a former war correspondent turned Yale political science professor whose firsthand experience with suffering around the world has convinced her that a war to free oppressed Iraqis was the United States' moral obligation (even if the execution turned out less than stellar). Although the work gets her steady spots on television and even once got her the ear of President Bush, her opinion hasn't exactly endeared the self-described feminist to her Yale colleagues and students. Still, the job is a more stable and safe alternative to her war correspondent days, and she's even found a stable beau to match: physical therapist Philip Lucas.

The character of Nadia in David Hare's "The Vertical Hour" marks the Broadway debut of Julianne Moore, which has already invoked comparisons of last season's debut of a certain other Hollywood golden girl by the name of Julia. I'm happy to say that Moore fares much better. But while Moore will probably and rightfully be the big draw to the show, there's a bigger reason to see this show: co-star Bill Nighy.

Nighy portrays Philip's estranged, womanizing father: nephrologist Oliver Lucas, whom Philip and Nadia visit at his isolated home near the border of Wales and England. The liberal, charming doctor obviously disagrees with Nadia about Iraq, but their discussion of the war and a few glasses of wine open up a much more personal discussion between the two.

Nighy's performance is nearly perfect down to the last expression and mannerism, and his appearance brings a spark to the stage that seems to be missing in the first scene, a discussion between Nadia and shallow student Dennis Dutton (Dan Bittner). Andrew Scott also is an excellent match for Nighy as the son who rebelled by becoming grounded.

The night I saw the show, Moore, who has only a handful of stage credits to her name, seemed just a little too broad in her first scene, a common occurrence from those most familiar with the film medium. That vanished by the time Nadia reached the United Kingdom, however, and Moore didn't disappoint from that point. There were even a few moments that neared Nighy's brilliance, no doubt in part thanks to the direction of Sam Mendes.

Hare's dialogue is sharp, although sometimes too much for its own good. As is often the case in intellectual works, the characters have a tendency to sound a bit like a Christopher Hitchens column. No one is that witty at 5 a.m. But I, for one, much prefer being talked up to than the alternative.

The set, designed by Scott Pask, is lovely in its simpleness: a gorgeous, giant tree in the middle of the stage that doubles as mere background for the window in Nadia's Yale office and the centerpiece of Oliver's yard. The black background that irises open to reveal the set following the brief monologues that begin each scene also is a nice effect.

Moore's presence probably means tickets for this show will be difficult to come by, but in this case, it would be completely justified. Brokers shouldn't have the same problem of having a hot ticket no one wants as they did with Julia Roberts' debut. And considering that more recent tenants of The Music Box theatre have included the dreary "Festen" and the bizarre "In My Life," I'm also glad the lovely little theatre once again has a tenant of which it can be proud.

A Mary Worth reference? Be still my heart!

I saw at a matinee, and I think we were out around 4:30.