‘PATRIOTS’: Michael Stuhlbarg. Photo: Matthew Murphy.

PATRIOTS
Written by Peter Morgan
Directed by Rupert Goold
Through June 23, 2024
Ethel Barrymore Theatre
243 West 47^th Street
https://patriotsbroadway.com/

By Scott Harrah

The battle for control of Russia between shady billionaire businessman Boris Berezovsky (Michael Stuhlbarg) and the infamous dictator Vladimir Putin (Will Keen) is the focus of Peter Morgan’s disturbing, ambitious and dark political epic Patriots. The show has transferred to Broadway after a successful West End run in London. At the helm of this production is acclaimed U.K. director Rupert Goold, known on this side of the Atlantic for such dramas as Ink, American Psycho and King Charles III. Mr. Morgan, best known for the Netflix phenomenon “The Crown,” the 2006 Hollywood hit The Queen with Helen Mirren and such Broadway dramas as The Audience, spins a gripping if somewhat lugubrious saga of how billionaire Berezovsky—a math prodigy as a child—grew up to become an ultra-wealthy oligarch during Boris Yeltsin’s regime.  Berezovsky influenced Russian politics after the fall of the Soviet Union and even claimed to “create” Putin as a nefarious world leader.

Patriots unfolds at a manic pace in 1991, right after the USSR collapsed as an elite group of Russia’s corrupt businessmen created an oligarchy, hoping to use their wealth to buy power in a vast nation that spans 11 time zones. Pay close attention in the beginning of the first act because everyone delivers the dialogue at a rapid-fire tempo.  We first see Berezovsky at the apex of his power, surrounded by three men he nurtures on his rise: handsome boy wonder Roman Abramovich (Luke Thallon); security officer Alexander Litvinenko (Alex Hurt); and the initially innocuous young Deputy Mayor of St. Petersburg, Vladimir Putin. At the time, Putin is simply a former KGB officer stuck in a powerless position and he wants help getting into the Kremlin. The chronology of the story jumps around, depicting Berezovsky’s childhood as a math genius and his time at university with Professor Perelman (Ronald Guttman), an influential academic in whom Berezovsky confides. Although the professor urges the student to stay in academia, Berezovsky chooses instead to get rich by any means necessary.

Patriots is a sweeping, colossal historical tale but the narrative is often scattershot and uneven. It will thrill history buffs and anyone interested in how post-Soviet Russia under Putin became the corrupt, war-mongering  dictatorship it is today. However, the sheer scale and length of the story—taking us from Moscow to Siberia to Surrey, England—might be too awkward and overwhelming for some.

The unique set by Miriam Buether has multiple purposes, from a Kremlin desk to a bar to a casino and a national TV network that Berezovsky owns. Ms. Buether’s set provides a good anchor for a story that jumps around to different locations.

There is a lot going on here, but one thing is consistently engaging and that is Mr. Stuhlbarg’s portrayal of Boris Berezovsky. He is hyper, bombastic and emotionally charged at all times, and there is no question Mr. Stuhlbarg’s name will be among those nominated for a 2024 Tony Award. However, one truly has to be a fan of physical comedy because, at times, Mr. Stuhlbarg seems to overemote, especially in the final scenes of the show. This type of acting is something that British audiences appreciate more, while American theatergoers prefer more natural dramatic performances. Will Keen, as Vladimir Putin, is stoic evil incarnate—a cold, Shakespearean figure who displays all the creepiness and horror of the real man he plays.

Patriots is not nearly as focused as other dramas directed by Rupert Goold. Some of extemporaneous scenes could have been cut to fine-tune all the Machiavellian antics unfolding before us onstage. Regardless, Patriots is an insightful and eerie look at the rise of Vladimir Putin’s authoritarian regime.

Edited by Scott Harrah
Published April 22, 2024
Reviewed at April 19, 2024 press performance

‘PATRIOTS’: Will Keen & Michael Stuhlbarg. Photo: Matthew Murphy.

‘PATRIOTS’: Boris Berezovsky & Ronald Guttman. Photo: Matthew Murphy.

‘PATRIOTS’: Will Keen, Luke Thallon & Michael Stuhlbarg. Photo: Matthew Murphy.

‘PATRIOTS’: Luke Thallon & Michael-Stuhlbarg. Photo: Matthew-Murphy.

‘PATRIOTS’: Stella Baker & Michael Stuhlbarg. Photo: Matthew Murphy.

‘PATRIOTS’: The cast. Photo: Matthew Murphy.

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‘AMERICAN SON’: (left to right) Kerry Washington, Steven Pasquale & Jeremy Jordan. Photo: Peter Cunningham

AMERICAN SON
Written by Christopher Demos-Brown
Directed by Kenny Leon
Through January 27, 2019
Booth Theatre
222 West 45th Street
(212-239-6200), www.americansonplay.com

By David NouNou

Topical and timely, American Son shows the disparity, anguish and complexity of an unexplained incident involving a teenager and the intense impact on his parents as they await answers.

Set in present-day Miami, Florida at 4:00 AM on a stormy night in a police station waiting room, Kendra Connor (Kerry Washington) is anxiously waiting to get any form of news on her missing son Jamal. Kendra is being placated by Officer Paul Larkin (Jeremy Jordan) by being evasive, tolerant but ingratiating. She is desperate and often belligerent due to the lack of any real forthcoming information.

In walks Scott Connor (Steven Pasquale), an FBI agent and Kendra’s estranged husband. In no time at all Officer Larkin—thinking agent Connor is heading the case of the missing teen—divulges all the information that Kendra has been desperately asking for. Larkin berates Kendra to Connor, only to find out that Kendra is his wife and Jamal is Connor’s son as well. The triangle here is Kendra is an African-American woman with a white husband and in the middle is white Officer Larkin.

From the onset we learn that Jamal is a well-educated, polite young man who, upon his father’s insistence, will be attending West Point Academy in the fall. From this point the play tackles myriads of issues: a biracial marriage, a black boy in an all-white high school, the boy’s confusion of which world he belongs in, and the revolt of the status quo of his family life. There is also the issue of how a desperate black woman can’t get any information on her missing son, while her white husband is handed the information without even asking for it. In turn, this makes everything in Kendra and Scott’s marriage topsy-turvy, with each seeing things from their own standpoint.

Finally, Lieutenant John Stokes (Eugene Lee) comes to sort things out, only to have Scott arrested for assault and refusing to cooperate with the law for wanting information on his son. Scott is taken away and Stokes sits Kendra down and gives her the facts of the situation. Stokes is an African American himself and knows how the system works.

The exceptional performances of the four people involved raise the bar here. Kerry Washington displays a wide range of emotions, from rage and aggression to anger and submission. Her tears are genuine because what she feels is raw and real. Steven Pasquale has never been better. He plays a conflicted father—who only knows right from wrong and good and bad—but is now caught in the crossfire of a rebelling son. His outrage at the system and how it treats people is a highlight in his career. The chemistry between Ms. Washington and Mr. Pasquale is palpable because it is so real.

Jeremy Jordan is very good as the affable Officer Larkin, with nothing more to do than be ingratiating. The real scene-stealer here is Eugene Lee, as the lieutenant who indicts Connor and then tries to explain things to Kendra. Mr. Lee is top notch; there is so much strength and dignity to his performance that it solidifies the proceedings.

The proceedings may not feel all that new, but the story certainly reflects today’s grim news, and the evening of sterling performances grounds the show to sustain one’s interest. It might make some people uncomfortable, but if you are a theater lover, you should put this down as a must-see show.

Edited by Scott Harrah
Published November 8, 2018
Reviewed at November 7, 2018 press performance.

‘AMERICAN SON’: Kerry Washington & Steven Pasquale. Photo: Peter Cunningham

‘AMERICAN SON’: (left to right) Kerry Washington, Steven Pasquale & Eugene Lee. Photo: Peter Cunningham.

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‘THE WAVERLY GALLERY’: Joan Allen & Elaine May. Photo: Brigitte Lacombe

THE WAVERLY GALLERY
Written by Kenneth Lonergan
Directed by Lila Neugebauer
Through January 27, 2019
John Golden Theatre
252 West 45th Street
(212-239-6200),www.TheWaverlyGalleryOnBroadway.com

By David NouNou

Kenneth Lonergan has not so much penned a play as he has written a slice of life. Some people may call it a memory play as in Tennessee Williams’ The Glass Menagerie in which Tom recalls the past and his family. Yet here Daniel Reed, played by the wonderful Lucas Hedges, doesn’t so much recall the past but explains in each successive scene his grandmother’s plight. His grandmother, Gladys Green, is radiantly played by the indomitable Elaine May.

The play opens with Gladys conversing with her grandson Daniel in her Greenwich Village art gallery about his life, his job, and things in general. She talks to him about his parents’ broken marriage and the fondness she and her deceased husband had for their son-in-law. She recalls her past and her joy of meeting new people. This is all done in a loving and nurturing but a bit repetitive manner. At first this comes across as funny because Elaine May has the knack of wringing humor from the most mundane of lines; but as the scene progresses the repetitiveness becomes more serious because Gladys isn’t so much as eccentric as she is developing the early stages of dementia.

As the story unfolds, Don Bowman (Michael Cera) enters the gallery. He is an artist who has moved from Massachusetts to New York to sell off his pitiable art and the only place that will take him in is Gladys. She believes all artists deserve a chance and enables him to showcase his art in her space, a so-called gallery.

Wednesday nights are reserved for dinner at Ellen (Joan Allen) and Howard Fine’s (David Cromer) home. Ellen is Gladys’ daughter, mother to Daniel and wife to second husband Howard. It is here where we begin to see Gladys’ deterioration. Ellen is the bastion of strength in the family, one who looks after Gladys and has to deal with the problems that begin to arise on a daily basis. She is ultimately the one who has to decide what happens to Gladys once she is informed that she is losing her gallery space and how this loss will affect Gladys when she has no place to go to fill her days.

Again, let me reiterate what we see here isn’t so much a play but actual life that Mr. Lonergan has put into words. He totally connects the dots of the start of Alzheimer’s disease, to the progression and the inevitable unreasonable demands that are unwittingly made by the patient. The effects it has on the family, when they take on the responsibility and refuse to allow the loved one go into a nursing home. Although this may sound very depressing, Mr. Lonergan has framed it with humor, which makes sitting through it a cathartic experience.

For a play of this nature, you have to start with an outstanding ensemble cast. I have to start by thanking Elaine May for bringing my late mother (who suffered from the same disease) to life and showing, with heartbreaking accuracy, what she went through those last few years of her life. Ms. May captures every nuance of so many of these patients and she does it exceptionally. One can’t imagine the toll it must take on Ms. May, but her performance is nothing short of remarkable.

Lucas Hedges is at the forefront of young actors and already has classic films under his belt. Mr. Hedges last year had his Oscar-nominated role in Manchester by the Sea and received critical raves for his work in Lady Bird and Three Billboards Outside Ebbing, Missouri. Mr. Hedges stars in the much-anticipated, soon-to-be-released Boy Erased. He makes an auspicious Broadway debut here and hopefully he returns frequently because he is equally at ease and engaging in front of a camera as well as with a live audience.

Michael Cera, earlier seen this spring in his Tony-nominated role in Mr. Lonergan’s Lobby Hero, is almost unrecognizable, as he has shed his baby-faced looks by growing his hair and a beard, to play a hapless young artist. He is perfect as this guileless artist trying to survive in the big city.

It is great to see Joan Allen back on the New York stage inhabiting a very difficult role of trying to be a cold and disciplined daughter who has to say no and rein in her unruly, deteriorating mother, but also be caring and compassionate. David Cromer, who is a Tony-winning director, is equally adept at acting. His performance is dictated by his artistry of being an impeccable director. Lila Neugebauer directs everyone with sharp precision.

What makes The Waverly Gallery a must-see is that it is a life history lesson. It captures our past and what we were, it captures the present of what we have to cope with, and it captures the future for a preparation what may be in store for a loved one or for us.

Edited by Scott Harrah
Published October 29, 2018
Reviewed at October 28, 2018 press performance.

‘THE WAVERLY GALLERY’: Elaine May. Photo: Brigitte Lacombe

‘THE WAVERLY GALLERY’: (left to right) Lucas Hedges, Elaine May & Michael Cera. Photo: Brigitte Lacombe

‘THE WAVERLY GALLERY’: Lucas Hedges & Elaine May. Photo: Brigitte Lacombe

‘THE WAVERLY GALLERY’: Lucas Hedges & Elaine May. Photo: Brigitte Lacombe

‘THE WAVERLY GALLERY’: Joan Allen. Photo: Brigitte Lacombe

‘THE WAVERLY GALLERY’: Lucas Hedges. Photo: Brigitte Lacombe

‘THE WAVERLY GALLERY’: Lucas Hedges. Photo: Brigitte Lacombe

‘THE WAVERLY GALLERY’: Lucas Hedges. Photo: Brigitte Lacombe

‘THE WAVERLY GALLERY’: Elaine May. Photo: Brigitte Lacombe

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‘BERNHARDT/HAMLET’: Dylan Baker & Janet McTeer. Photo: Joan Marcus

BERNHARDT/HAMLET
Written by Theresa Rebeck
Directed by Moritz von Stuelpnagel
Through November 18, 2018
American Airlines Theatre
227 West 42nd Street
(212) 719-1300
www.RoundaboutTheatre.org

By David NouNou

Playwright Theresa Rebeck is one of the few modern-day female playwrights who has made a major impact on the American theatrical stage. She is prolific and has good ideas. As in her previous outings Dead Accounts, Seminar and Mauritius, she starts with a great premise but somehow the plays never flesh out to full fruition.

The ambitious Bernhardt/Hamlet is no exception. Ms. Rebeck has Sarah Bernhardt (Janet McTeer) taking on the role of Shakespeare’s Hamlet. The conflict here is that no female has ever dared play the part of the Great Dane. The public would just not stand for it and it could turn out to be her biggest debacle. After all, Sarah Bernhardt was the foremost actress of her day and one of the most eccentric divas as well. Her offstage antics were just as publicized as her roles of Medea and Cleopatra, as well as Shakespeare’s heroines: Cordelia, Desdemona and Ophelia as well as her renowned Camille.

Act I is saddled with long-winded passages from Hamlet. Ms. Bernhardt is having difficulty with all the poetry that is essential to Hamlet and decides to engage French playwright, Edmond Rostand (Jason Butler Harner), to revise Shakespeare and Hamlet and strip it of its poetry. This is where the humor is supposed to be. The plot is further mired with Bernhardt’s affair with the married Rostand. He forsakes his greatest masterpiece to do the revisions on Hamlet due to his love for Bernhardt.

The best scene in Act II comes when Madame Rostand (Ito Aghayere) forces her way in to see Bernhardt. Here, she presents Bernhardt with what will be Rostand’s greatest triumph Cyrano de Bergerac, but he has stopped working on it because of his love and trying to fulfill his obligation to Bernhardt. The scene then dissipates into scenes and passages from Cyrano and thus makes the evening interminable.

Kudos have to be given to the four supporting players that ground this show with their natural, low-keyed genuine performances; they are Matthew Saldivar (as Alphonse Mucha) who does all of Bernhardt’s divine posters but has problems drawing one for Hamlet, because he has never drawn men; just women at their glorified best. Next is Tony Carlin as the French critic Louis who has problems accepting a woman playing Hamlet. Equally wonderful is Nick Westrate as Maurice, Bernhardt’s steadfast son, who comes to knock some sense into her and her Hamlet folly. Last but not least is Ito Aghayere as Rostand’s wife, Rosamond; her quiet dignity brings reality to the forefront.

It is never easy for one actress to capture another actress’ essence, especially on the stage and certainly someone like Sarah Bernhardt of whom 2018 audiences know nothing except what we have read about her. It is Ms. McTeer’s impossible task to come up with a creditable interpretation of the fire that was Bernhardt. Instead, we have a petulant Sarah bossing people around to satisfy her whims and throwing giddy tantrums. She comes across more as the wonderful late British actress Kay Kendall and Vanessa Redgrave but lacking any nuances. It’s a full-throttle performance that, while enthusiastic, never varies much.

Alas, part of the problem is with Moritz von Stuelpnagel, a splendid director of the absurd. Remember his Hand to God and last year’s Present Laughter, both flawlessly directed? He has derailed the proceedings without imbuing any seamless shadings or editing. In this case, it is a free-for-all of the preposterous with no reining in of the rough edges that are way over-the-top for his leading lady and the plotline.

A high note of the evening is the set designs by Beowulf Borritt, a genius for any season.

Edited by Scott Harrah
Published September 28, 2018
Reviewed at September 27, 2018 press performance.

‘BERNHARDT/HAMLET’: Jason Butler Harner & Janet McTeer. Photo: Joan Marcus

‘BERNHARDT/HAMLET’: (left to right) Dylan Baker, Jason Butler Harner, Janet McTeer & Matthew Saldivar. Photo: Joan Marcus

‘BERNHARDT/HAMLET’: (left to right) Dylan Baker, Janet McTeer & Jason Butler Harner. Photo: Joan Marcus

‘BERNHARDT/HAMLET’: Janet McTeer. Photo: Joan Marcus

‘BERNHARDT/HAMLET’: Janet McTeer & Brittany Bradford. Photo: Joan Marcus

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‘THE PARISIAN WOMAN’: Josh Lucas & Uma Thurman. Photo: Matthew Murphy

THE PARISIAN WOMAN
Written by Beau Willimon
Inspired by Henri Becque’s La Parisienne
Directed by Pam MacKinnon
Through March 11, 2018
Hudson Theatre
141 West 44th Street
(855-801-5876), www.ParisianWomanBroadway.com

By David NouNou

Somewhere in heaven, the late novelists Jacqueline Susann and Jackie Collins are fuming and wondering if they can collect any royalties from Beau Willimon’s The Parisian Woman. Every ludicrous cliché they ever wrote in their novels (from blackmail to scandalous illicit affairs) is here. Whereas theirs was “pulp fiction,” no pun intended, and can be read over and over again as escapism, this is expensive babbling at high Broadway ticket prices and it will be dated within four years hopefully (if not earlier, if there is any justice in the political world of today).

Uma Thurman is gorgeous as the calculating Chloe. A woman who doesn’t do much these days but did fritter her youth away with love affairs, art and beauty in Paris. She now lives to further the career of her husband Tom, the equally gorgeous Josh Lucas. He is a tax lawyer that sees his time as now in the helter-skelter world called Washington, D.C. to be a nominee for chief justice. Chloe and Tom live in a luxury townhouse, no children, and are allowed to have affairs on the side as long as they don’t talk about it. An ideal situation in the imperfect Duchy of Washington.

The snake in this idyllic garden is Peter (Marton Csokas), a D.C. banker and supporter of the RNC and he has connections with an incoming president whose last name begins with a “T.” His character is more absurd and more ridiculous than anyone Ms. Susann or Ms. Collins could have ever concocted. He is hopelessly, madly and jealously in love with Chloe. He even divorced his wife for her. He is so enamored by Chloe that within the first 10 minutes of the play, she is manipulating him to put in a good word with “you know who” for the seat in the Justice Department. After all, this is only a 90-minute play, so the proceedings have to move quickly.

There is also Jeanette (Blair Brown), some bigwig who has just been appointed by “you know who” for I don’t know what and wants to befriend Chloe because of her spunk and refreshing forthrightness. Jeanette has a lovely daughter, Rebecca (Phillipa Soo), who has just graduated from Harvard Law School, wants to go into politics, jump through a few political hurdles first, and then has her eyes set for the ultimate prize, being president of the USA. Of course, to right all the wrong that is being done today by “you know who.”

All this folderol is directed with the usual leaden hand of Pam MacKinnon (remember earlier this spring, she helmed the dreadful dud Amelie?) Ms. MacKinnon also recently directed David  Mamet’s putrid China Doll and the awful 2015 revival of The Heidi Chronicles.

The one bright note in theatrical parlance is Blair Brown. She is a perfectionist and can make the most awful mundane lines seem plausible. Credit must also be given to Ms. Soo for adding some gravitas to her trite role. As for Ms. Thurman and Mr. Lucas, they have to settle for gorgeous.

Edited by Scott Harrah
Published December 6, 2017
Reviewed at December 5, 2017 press performance.

‘THE PARISIAN WOMAN’: Uma Thurman. Photo: Matthew Murphy

‘THE PARISIAN WOMAN’: Phillipa Soo & Uma Thurman. Photo: Matthew Murphy

‘THE PARISIAN WOMAN’: Uma Thurman & Marton Csonkas. Photo: Matthew Murphy

‘THE PARISIAN WOMAN’: Phillipa Soo. Photo: Matthew Murphy

‘THE PARISIAN WOMAN’: Josh Lucas. Photo: Matthew Murphy

‘THE PARISIAN WOMAN’: Blair Brown. Photo: Matthew Murphy

‘THE PARISIAN WOMAN’: (left to right) Uma Thurman, Blair Brown & Phillipa Soo. Photo: Matthew Murphy

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OUTSTANDING PERFORMANCE: Bradley Cooper is John Merrick. (Right) Alessandro Nivola & Patricia Clarkson co-star. Photo: Joan Marcus

THE ELEPHANT MAN
By Bernard Pomerance
Directed by Scott Ellis
Through February 22, 2015
Booth Theatre
222 West 45th Street,
(212-239-6200), www.ElephantManBroadway.com

By David NouNou

Of the four highly anticipated, star-powered plays that arrived this year and that theatergoers are paying top dollar for, the most satisfying and rewarding would be The Elephant Man. For starters, it’s a fascinating and well-written play. Having Bradley Cooper head the cast is an added bonus, and if anyone was wondering whether Mr. Cooper is a movie star in a Broadway play or an actor performing the part, rest assured he is the latter.

Mr. Cooper is a movie star, hence the buzz around this show. He is not only a recent two-time Oscar nominee, but he is also a damn good actor. To say he was the best thing in his 2006 Broadway debut in Three Days of Rain would not be a real compliment. It was a mediocre play at best that starred Julia Roberts and was the hot ticket of that year. This time around he is the star attraction and it gives the show the opportunity to be seen again.

Set in Victorian-era London, Dr. Frederick Treves (Alessandro Nivola) discovers John Merrick, the “Elephant Man” (Mr. Cooper) on display in a freak show. Treves brings Merrick to the hospital where he works to examine him and the extreme deformity of his body. There is no prosthetic makeup used to indicate any of the deformities. As Treves uses slides to indicate Merrick’s deformities, the actors (and a formidable array of them, starting with the original Philip Anglim, David Bowie, Bruce Davison, Mark Hamill, Billy Crudup up to Bradley Cooper), most of them, and especially Mr. Cooper (being extremely good-looking), portray Merrick’s deformity through physicality and Dr. Treves’ description through the slides, letting the audience imagine what Merrick looks like as the Elephant Man.

The next person who is introduced to Merrick is the actress, Mrs. Kendal (Patricia Clarkson), who at first is appalled by his appearance and then overwhelmed by his intelligence, shows him compassion and promises to bring her friends to visit Merrick for he so likes to chat with company. As Merrick’s fame grows, Treves falls into deeper despair knowing that Merrick will not have a long time to live. The psychological aspects of the show I will leave out, for that is the part that makes the show seem dated.

Mr. Cooper, being the best looking and sexiest Elephant Man yet, has the harder task than his predecessors in this role of convincing us of his deformities. Despite his great looks, we manage to see the gentleness, innocence, and also misery that has befallen this man. Mr. Cooper does it in a quite unobtrusive manner. He plays him as an ensemble character rather than a grandstanding movie star. He brings a serene calmness to Merrick.

Alessandro Nivola has the thankless role of Dr. Treves, the healer. He was so bombastic and passionate in The Winslow Boy at the Roundabout a few years ago, but here he is a total one note of gloom and despair. On the other hand, Ms. Clarkson is stalwart yet compassionate, intelligent and charming. The rest of the cast meander in and out.

Since 1979, when it first opened on Broadway, The Elephant Man seems dated a bit due to the psychological aspect of its narrative and lacks the gut- wrenching wallop of the finale, although its themes of science vs. religion are still topical. Overall, it is still a worthwhile drama to be immersed in, and Bradley Cooper makes it all the more worthwhile.

Scott Ellis lends a good hand in directing his cast, but good God, couldn’t he have created a more imaginative curtain call? Couldn’t he at least have given his three leads separate entrances? After all, you have Bradley Cooper in the cast; let him take an extra bow as that’s what the audience is waiting for.

‘THE ELEPHANT MAN’: Bradley Cooper & Alessandro Nivola. Photo: Joan Marcus

TRAGIC TALE: Alessandro Nivola comforts Bradley Cooper in ‘The Elephant Man.’ Photo: Joan Marcus

VICTORIAN ‘FREAK’ OF NATURE: Bradley Cooper as John Merrick in ‘The Elephant Man.’ Photo: Joan Marcus

OSCAR NOMINEE CLARKSON CO-STARS: Patricia Clarkson plays an actress who befriends John Merrick. Photo: Joan Marcus

SEXIEST ELEPHANT MAN EVER: Two-time Oscar nominee Bradley Cooper’s portrayal of John Merrick is one of the best yet. Photo: Joan Marcus

FINE ENSEMBLE: (left to right) Bradley Cooper, Alessandro Nivola & Patricia Clarkson in ‘The Elephant Man.’ Photo: Joan Marcus

Edited by Scott Harrah
Published December 7, 2014
Reviewed at preview performance

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PLAYING POST OFFICE: Mia Farrow & Brian Dennehy in ‘Love Letters.’ Photo: Carol Rosegg

LOVE LETTERS
Written by A.R. Gurney
Directed by Gregory Mosher
Brooks Atkinson Theatre
256 West 47th Street
New York, NY
(877-250-2929; www.lovelettersbroadway.com)

By David NouNou

We seldom see butterflies in New York City, and like the rare spring ethereal butterfly, A. R. Gurney’s Love Letters is lively, lovely, delicate, dreamlike, and seductive. Seeing it back in 1989 with Cliff Robertson and Elaine Stritch, in the parts of Andrew Makepeace Ladd III and Melissa Gardner, respectively, it was a sweet, touching tribute to love and self-expression in all its phases from childhood to death with all of life’s ups and downs through letter writing.

Seeing it now, it has attained a patina of sadness that it didn’t have then, the loss of an art form that is almost dead now called letter writing. The writers now are Brian Dennehy and Mia Farrow on an almost bare stage, seated behind a desk and reading their letters that spanned over their 50-year relationship. Starting from a thank-you note from Andrew to Melissa’s mother for being invited to Melissa’s birthday party (that was the proper thing to do back in 1937). Andrew loved to write letters, Melissa hated to write back, but they corresponded that way for over 50 years. Starting as children in grade school, going through different schools in their teens, off to college and then to adulthood. What a glorious chronicle. Throughout that time, their love took many forms: adolescence, awkward teens, flighty collegians, married to different people, and even old age sex, their love was indomitable.

What makes it so touching and real is that we all had these feelings with different people. How sublime it is to have that one love that is a constant throughout one’s life. Thanks to Gregory Mosher’s subtle direction, he has channeled all these emotions through his actors: Ms. Farrow and Mr. Dennehy through their readings. Ms. Farrow is excellent as Melissa; she conveys youth and its folly, coquettishness, frailty and sad desperation. Mr. Dennehy is perfect as Andrew, though his parameters are more limited, he is constantly stalwart.

Earlier I used the term “the play has attained a patina of sadness”, for who today writes a letter or holds a fountain pen? What took hundreds of years of self-expression, feelings and longings on the written page in an instant have been replaced by texting, LOL and OMG.

Edited by Scott Harrah
Published September 26, 2014
Reviewed at press performance September 25, 2014

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