‘OUR TOWN’: Ephraim Sykes & Zoey Deutch. Photo: Daniel Rader.

OUR TOWN
By Thornton Wilder
Through January 19, 2025
Directed by Kenny Leon
Ethel Barrymore Theatre
242 West 47th Street
www.ourtownbroadway.com

By Scott Harrah

The latest revival of Thornton Wilder’s Our Town bears little resemblance to the classic drama often produced in high schools. Director Kenny Leon has reinvented the renowned story set in Grover’s Corners, New Hampshire into a modern-day look at small-town life that reflects 21^st century America instead of the early 1900s (the original period for the play).

The show opens with characters onstage singing a hymn that combines Jewish prayers in Hebrew, Muslim prayers in Arabic as well as Christian references. The Stage Manager (Jim Parsons) who narrates the story is still an integral part of the show, but Mr. Leon has added many of the touches that European directors insert into American stage classics to give a “new” twist, such as audience members seated on the stage. Characters in the show enter via running down the aisles through the audience and hop on stage. Although these directorial choices are often effective, they may not please purists of the show.

Our Town has always been produced with minimal sets and props, and in this version the biggest part of the set is a group of lanterns hanging above the stage. Minimalism has always been front and center in the play, and director Kenny Leon has trimmed down everything from the sets to the show’s running length. Our Town is a three-act play, but here it has been condensed into a brief one act that runs about 100 minutes. Since there is no intermission, one of the Stage Manager’s classic lines at the end of Act I—“That’s the end of Act I, folks. You can go and smoke, now. Those that smoke”—has, of course, been cut.

Act I focuses on the daily life of people in Grover’s Corners. The Stage Manager talks about the mundane happenings in the town, from births, marriages, deaths, the paper boy’s route, what people eat for breakfast, folks gossiping, and so on. Our Town centers on two families: First, Mr. Webb (Richard Thomas), the local newspaper editor, and Mrs. Webb (Katie Holmes). They have a young son, Wally (Hagan Oliveras) and daughter, Emily (Zoey Deutch). The second family in focus are the Gibbs, including Dr. Gibbs (Billy Eugene Jones) and Mrs. Gibbs (Michelle Williams). The Gibbs also have a son, George (Ephraim Sykes) and daughter, Rebecca (Safiya Kaijya Harris). Emily and George soon develop a budding romance.

Other townsfolk include the gossipy Mrs. Soames (Julie Halston) and choir director Simon Stimson (Donald Webber, Jr.), a man who is also the notorious local alcoholic. In addition, the dairyman Howie Newsome (John McGinty) is deaf, and characters use sign language to communicate with him.

In Act II, it is three years later, and Emily and George are planning to get married. George decides against leaving town to attend college and decides to stay in Grovers Corners to marry Emily. Despite some hesitation, the two eventually wed.

Act III is set nine years later and takes place in a cemetery outside town. Without giving too much away, many townsfolk have died. One died of pneumonia, one of a burst appendix, and another died by suicide. We meet the local undertaker Joe Stoddard (Anthony Michael Lopez) and Sam Craig (Doron Jepaul), a man who has returned to Grover’s Corners for a cousin’s funeral. We soon realize the deceased cousin is one of the play’s main characters. The Stage Manager talks in detail about death and the probability of an afterlife, but without any religious interpretation.

Overall, director Kenny Leon has added many nice touches, such as the smell of bacon wafting out into the audience when Mrs. Webb is cooking breakfast.  Mr. Leon gets primarily effective performances from the cast.  Mr. Parsons is outstanding as the Stage Manager. Mr. Thomas and Ms. Holmes portray a great married couple as Mr. and Mrs. Webb, and the same holds true for Mr. Jones and Ms. Williams as the Gibbs. Ms. Halston is often hilarious as the town busybody Mrs. Soames. Mr. Sykes is believable and often touching in his role as George Gibbs. Ms. Deutch as Emily is consistently good, but her final “good-bye” speech—one of the play’s most iconic moments—comes off somewhat strained. This is hardly the best Our Town revival, but fortunately the modern touches and tweaks do not diminish the timeless story of community and life’s ups and downs in small-town America.

Edited by Scott Harrah
Published October 18, 2024
Reviewed at October 15, 2024 press performance

‘OUR TOWN’: (left to right) Anthony Michael Lopez, Safiya Kaijya Harris, Shyla Lefner, Billy Eugene Jones, Michelle Wilson, Jim Parsons & Katie Holmes. Photo: Daniel Rader.

‘OUR TOWN’: Billy Eugene Jones & Michelle Wilson. Photo: Daniel Rader.

‘OUR TOWN’: Ephraim Sykes, Katie Holmes & Richard Thomas. Photo: Daniel Rader.

‘OUR TOWN’: The cast. Photo: Daniel Rader.

‘OUR TOWN’: (left to right) Ephie Aardema Sarnak, Julie Halston, Richard Thomas & Hagan Oliveras. Photo: Daniel Rader.

‘OUR TOWN’: Zoey Deutch. Photo: Daniel Rader.

The post ‘Our Town’: Modern reboot of Wilder’s classic appeared first on StageZine.

‘CAMELOT’: Phillipa Soo & Andrew Burnap. Photo: Joan Marcus.

CAMELOT
Music by Frederick Loewe
Original book & lyrics by Alan Lerner
Book by Aaron Sorkin
Based on T. H. White’s The Once and Future King
Directed by Bartlett Sher
Vivian Beaumont Theatre
150 West 65th Street
(212-239-6200), https://camelotbway.com/

By David NouNou

Lord, save the musical theatre from heavy-handed “serious” writers who insert themselves into classic musicals in the name of reinventing them. Camelot was the next venture for Lerner and Loewe following their smash hit My Fair Lady. They tackled T. H. White’s fantasy novel The Once and Future King, which were short stories based about King Arthur based on the 1485 work Le Morte d’Arthur by Sir Thomas Mallory. They created this fantasy world for the theatre about King Arthur, meeting and marrying Guenevere, creating the round table with knights of the highest order and valor, and its most formidable knight Lancelot du Lac. Visually, Camelot was and may still be the most opulent, extravagant, lavish and colorful musical ever created. I know, I saw it and remember it vividly, thanks in large part to my parents taking me to the theatre at a very early age.

The book by Mr. Lerner wasn’t perfect; it contained too much plot and so many characters but it had an easy flow. The score was sublime especially the lilting music by Mr. Loewe. This is not an easily revivable musical in great part because of the complicated and overlong book and Aaron Sorkin hasn’t made it any better. Between him and Bartlett Sher—who is a formidable director of musicals: South Pacific, The King and I, My Fair Lady,  all under the banner of Lincoln Center—have stripped the fantasy, joy, glory, pomp, extravagance and whimsy and left us this dreary, vapid, monochromatic, joyless world that once was known as Camelot.

Starting with Arthur (Andrew Burnap) hiding from his arranged betrothal to Guenevere (Phillipa Soo), Princess of France, to end the wars and seal the relationship between England and France. Arthur and Guenevere, while escaping from her retinue, stumble upon each other in the wintry woods near the castle where Arthur explains the virtues of Camelot in the song “Camelot.” The two form a bond, which will lead to the creation of the round table. Arthur’s mentor and tutor, Merlin (Dakin Matthews), before dying, warns Arthur of impending doom but doesn’t tell him what it is. In walks Lancelot (Jordan Donica), the knight of the highest ideals singing his own virtues in “C’est Moi.”

Temptation does enter this magical kingdom of virtue, morals and standards where no one is above the law. Arthur’s illegitimate son, Mordred (Taylor Trensch), is the snake in the garden of Eden who tempts Lancelot and Guenevere to be caught together, and causes the undoing of Arthur and all of his idealistic dreams.

Again, although it wasn’t perfect, Lerner and Loewe attempted to create a beautiful world where one could hope for a better future. In Sorkin and Sher’s world, on the enormous Vivian Beaumont stage, their world starts out bleak, threadbare, and has no chance for any higher ideals, the illusion and fantasy are missing and there is no hint of it in Michael Yeargan’s nonexistent sets. Instead of armor, gossamer and brocade, the costumes by Jennifer Moeller are so drab, dreary and adorned with black leather that this Camelot lacks any illusion, mystique or charm.

Thankfully, what is kept intact is the beautiful and melodic score and that is in large part due to its musical director and conductor Kimberly Grigsby. One can just close one’s eyes and listen to Ms. Grigsby and her full glorious orchestra and I’ll quote “Don’t let it be forgot, that once there was a spot, for one brief shining moment that was known as Camelot.”

Edited by Scott Harrah
Published April 16, 2023
Reviewed at April 15, 2023 press performance.

‘CAMELOT’: Phillipa Soo, Andrew Burnap, Dakin Matthews & Jordan Donica. Photo: Joan Marcus.

‘CAMELOT’: Andrew Burnap. Photo: Joan Marcus.

‘CAMELOT’: Jordan Donica. Photo: Joan Marcus.

‘CAMELOT’: Andrew Burnap. Photo: Joan Marcus.

‘CAMELOT’: Jordan Donica & Phillipa Soo. Photo: Joan Marcus.

‘CAMELOT’: Phillipa Soo. Photo: Joan Marcus.

‘CAMELOT’: Taylor Trensch & Marilee Talkington. Photo: Joan Marcus.

‘CAMELOT’: Danny Wolohan, Anthony Michael Lopez, Fergie Philippe & Dakin Matthews. Photo: Joan Marcus.

‘CAMELOT’: Phillipa Soo & cast. Photo: Joan Marcus.

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