Ah, yes. Good old Chris Durang. What’s he gotten into now? Over the years he’s been known for such ideosyncratic shows as “Sister Mary Ignatius Explains It All For You, “The Marriage of Bette and Boo” and, of course, “The Idiots Kasamazov.”
But Durang’s nicely into his 60’s now. Perhaps he’s calmed down a bit?
Well, no. “Vanya and Sonia and Masha and Spike” concerns Bucks County, PA., Snow White, licking postage stamps, movie stars, the theatuh, voodoo, pricks, getting old and the significance of the blue heron. Among many other things.
Yup. Charles Dickens is back in town. Played with great good humor by the veteran Tom Gleadow, this year’s “A Christmas Carol” has Mr. Dickens on stage often and to considerable effect.
The rotund Gleadow is one of those luminous actors whom you find yourself watching anytime he’s on stage. And he’s there a lot, giving this year’s version more of the dialogue from the novel then perhaps ever. He also chides, and directs, poor old Ebenezer Scrooge a bit, too, which lends a nice comedic touch.
Ah yes, the late Vince Lombardi. I can see him now, back in the black and white TV era of the 1960s. He’s standing like a statue on the sidelines on the tundra that is a Green Bay football field. Legs apart, polo coat covering his broad shoulders, absurd fedora on his head. And most of all there’s his shouting, bellowing, at anyone nearby. The refs, his own players, his assistant coaches, were all fair game, targets of his single minded drive.
“Sons of the Prophet” comes to Rhode Island with a pretty darn good reputation. Brown University graduate Stephan Karam’s play was a finalist for a Pulitzer Prize in 2012 and did win several awards that year. It was a favorite of Manhattan’s downtown theater crowd, too.
Yes, you could figure that “Les Mis” might be just a tad over-saturated these days.
Many have seen it at least once. Or, they’ve heard the wonderful score.
But, you know what? “Les Mis” is still worth seeing, worth being affected by, worth pondering for its immense world view. And the production opening the season at Ocean State is a first-rate effort. No, it doesn’t have the great turntable racing the pace on stage. It hasn’t reached the incredible settings of Broadway or top flight road shows.
Credit Peter Goldberg / The Gamm TheatreCasey Seymour Kim and Alexander Platt in "Far Away" by Caryl Churchill, directed by Tony Estrella.Edit | Remove
For decades, English playwright Caryl Churchill has been accorded Goddess stature in the upper reaches of play writing circles. Fiercely political, strongly on the left, Churchill made her mark with plays of attitude and insight.
Okay, full disclosure. I have a major soft spot for “La Cage.” Ever since I was one of the many who stood and cheered at the end of the 1983 pre-Broadway tryout at Boston’s Colonial Theatre I’ve wanted “La Cage” to succeed wherever it plays.
And it’s not just the crisp score by Jerry Herman or the pungent humor of Harvey Fierstein’s lyrics. It is truly the message of becoming a decent human being and knowing who you are, and why, that’s allowed me to love “La Cage” over the years.
Ah, yes. “The sun’ll come out tomorrow/Bet your bottom dollar.” Most of us remember that lyric. And you know, when “Annie,” after trying out at the Goodspeed Opera House, opened on Broadway in 1977 it definitely earned a lot more than a buck. With its bouncy music and improbable but oh-so-charming, very American narrative the show was up for 18 Tony Awards, and won 14, including “Best Musical.”