‘GREY HOUSE’: Laurie Metcalf & Eamon Patrick O’Connell. Photo: MurphyMade, 2023.

GREY HOUSE
Written by Levi Holloway
Directed by Joseph Mantello
Through July 30, 2023
Lyceum Theatre
149 West 45th Street
(212-239-6200), www.GreyHouseBroadway.com

By David NouNou

Upon leaving this show, one wishes ushers had handed out leaflets to explain what on earth playwright Levi Holloway was writing about to clarify what happened on the stage of the Lyceum Theatre for the last 100 minutes. What is supposed to pass as a thriller comes across as a pretentious, incomprehensible, inconceivable tale. It is the story of a married couple, Henry (Paul Sparks) and Max (Claire Karpen)—Tatiana Maslany was absent at our performance due to illness—driving in a blizzard. They get into a car accident by hitting a deer, and that leaves Henry with a broken ankle. He hobbles in with Max to the cabin in the woods. Wooo—scary concept.

The time is 1977 (I guess people got scared easier in those days). The time is essential to know, because back then there were no cell phones to call for help. Of course, all the prerequisites are here, the house is creaking endlessly, the wind is howling outside, the cabin is a creepy mess and empty, and in order to call for help, Henry and Max walk into this seemingly abandoned cabin to call for help only to find out the phone’s cord is severed and there is no way to call out. This should have been a sign to get out of the house.

To add to the thrills and chills, there are the loud blackouts, a basement door that opens and closes with smoke billowing out of it. You ask yourself if this the stairway to hell? There is a refrigerator that, when opened, has different contents in it. The first time there are jars of elixirs in it, followed by different contents and back to the jars. Of course, what horror tale doesn’t have a face staring blankly through a window? These are the best of the jolts and shockers.

Soon, five of the creepiest children start appearing: Marlow (Sophia Anne Caruso), seemingly the eldest and the chilliest, an act perfected from her playing the role of Lydia Deetz in the musical Beetlejuice. Next is Bernie (Millicent Simmonds) who is deaf and uses sign language and can make Henry’s nose bleed with the merest hand gesture. Squirrel (Colby Kipnes) creeps in and out of the basement. A character named A1656 (Alyssa Emily Marvin)—this is not a typo —is the nicest of the lot, and one boy, The Boy (Eamon Patrick O’Connell), is the youngest. He is mostly blindfolded and hardly ever speaks. There’s also The Ancient (Cyndi Coyne); she is old and ghoulish—I think a ghost—who preys on Henry’s mind with the elixirs.

Oh, I almost forgot, there is also Raleigh (Laurie Metcalf), a seemingly gruff mother (or just having a bad day) mother figure to these children.

As Henry’s pain gets worse, Marlowe and the rest start plying Henry with the jars of moonshine—better known as the nectar of dead men—his condition worsens, these demon children start playing devious head games with Max to reveal inner secrets. Now, one would ask why would anyone allow themselves to be subjected to any of this? One would sooner amputate one’s own leg than be subjected to these children and this awful setting. It is at this point we find out there are many hidden secrets that brought them here. Was it really an accident or fate brought them here? You decide; I didn’t care.

Director Joe Mantello, usually a very concise and thorough director, has shed no light onto the proceedings except for the eerie lighting by Natasha Katz and a creepy set by the ever-brilliant set designer Scott Pask.

In a thriller, you expect to get scared and terrified, and not end up with a headache trying to figure out “what in the hell did I just sit through”?

Edited by Scott Harrah
Published June 5, 2023
Reviewed at June 3, 2023 press performance.

‘GREY HOUSE’: The cast. Photo: MurphyMade, 2023.

‘GREY HOUSE’: (left to right on stairs) Sophia Anne Caruso, Alyssa Emily Marvin & Millicent Simmonds. Photo: MurphyMade, 2023.

‘GREY HOUSE’: Sophia Anne Caruso. Photo: MurphyMade, 2023.

‘GREY HOUSE’: Paul Sparks & Colby Kipnes. Photo: MurphyMade, 2023.

‘GREY HOUSE’: Eamon Patrick O’Connell & Paul Sparks. Photo: MurphyMade, 2023.

‘GREY HOUSE’: Tatiana Maslany & Paul Sparks. Photo: MurphyMade, 2023.

‘GREY HOUSE’: (left to right) Laurie Metcalf, Tatiana Maslany, Alyssa Emily Marvin & Millicent Simmonds. Photo: MurphyMade, 2023.

The post ‘Grey House’: Too confusing to be scary appeared first on StageZine.

HILLARY AND CLINTON
Written by Lucas Hnath
Directed by Joseph Mantello
Through July 21, 2019
John Golden Theatre
252 West 45th Street
(212-239-6200), www.hillaryandclintonbroadway.com

By David Nounou

After seeing Lucas Hnath’s 2017 A Doll’s House, Part 2, a follow-up to Henrik Ibsen’s A Doll’s House in which Nora returns to her family after a 15-year absence (and all the drama she creates), I was intrigued to see what Mr. Hnath’s next play would be. Upon learning it was entitled Hillary and Clinton, I was giddy with anticipation over what twists he would bring to this world-renowned couple.

Starting out promisingly, we see Hillary (Laurie Metcalf) in 2008 explaining that flipping a coin five times results in one outcome, what are the chances getting the same results flipping that coin over and over again? What if another Hillary in another galaxy was doing the same toss of the coin, what would be the results there? Titillating premise for sure, but the results come up short.

Hillary is despondent that she has lost the Iowa caucus to Barack (Peter Francis James). Now, in New Hampshire, she is in third place, Barack still leading. She and her campaign manager Mark (Zac Orth) are discussing strategies, and he insists that she doesn’t call Bill (John Lithgow) for help. Everyone here is known by their first name. Mark has an offer from Barack’s team that if she drops out gracefully, Barack will pick her as his running mate, saying that it isn’t her turn now. Of course the first thing she does is call Bill for help. What ensues is bitter rancor and chastisements.

What is so frustrating is that in the 80 minutes in A Doll’s House, Part 2, so much happened, while in the same amount of time here, not much happens. After 40 minutes you hear Hillary say it is the end of Part 1, so naturally one assumes that the alternate universe would begin with what if she did run as Barack’s running mate? She wouldn’t have been secretary of state, she would not have been blamed for Benghazi and there may never have been a private server and who knows how the 2016 elections would have resulted in another galaxy? What possibilities to explore indeed. Instead we are served the blaming game and that Bill is the millstone around Hillary’s neck; she would be better off divorcing him and he would be nothing without her.

Laurie Metcalf’s riveting performance is what sustains one’s interest in the show. Without a Hillary wig, makeup or pantsuits, she is Laurie being Hillary in the most natural of ways and the performance is so luminous it could lead to an unprecedented third consecutive Tony Award for her.

John Lithgow as Bill also shines, but here he is more of a lead weight than the charismatic charmer that Bill still is. He is the man made by a strong woman standing behind him and in his shadow.

Joe Mantello as usual extracts every nuance from an otherwise lackluster show to keep it compelling. Pity he couldn’t extract or create that alternate universe. Instead, we have to be satisfied with another stunning performance from Laurie Metcalf as the heroine.

Edited by Scott Harrah
Published April 18, 2019

‘HILLARY AND CLINTON’: John Lithgow plays Bill. Photo; Robert Zuckerman

The post ‘Hillary and Clinton’ in alternate universe appeared first on StageZine.

‘THREE TALL WOMEN’: (left to right) Glenda Jackson, Alison Pill & Laurie Metcalf. Photo: Brigitte Lacombe

THREE TALL WOMEN
Written by Edward Albee
Directed by Joseph Mantello
Through June 24, 2018
John Golden Theatre
252 West 45th Street
(212-239-6200),www.threetallwomenbroadway.com

By David NouNou

Upon seeing Edward Albee’s Three Tall Women for the second time, having originally seen it in London in 1994 with Maggie Smith, one wonders why this 1991 Pulitzer Prize winning play has never been done on Broadway? The answer is simple it was waiting for Glenda Jackson to retire from British politics and return to the stage, and what a return; she is nothing short of remarkable, giving the performance of the year.

To some degree this is Albee’s most accessible and normalized play. The characters are simply known as A, Glenda Jackson, B, Laurie Metcalf and C, Alison Pill. In the first half of the play, A is a sick, old dying woman who is rich, vain, imperious, bigoted, racist as well as homophobic. She is nursed by a middle-aged savvy B, who knows all her idiosyncrasies and knows when to calm and when to stoke her. C is young and idealistic and has been sent over by A’s attorney to take care of A’s unpaid bills. In the midst of all the idealism and cynicism, A has a stroke and blackout.

Within seconds the second part begins in a mirror image in reverse, with a body facing the back wall and the three tall women emerge in radiant lilac frocks, facing the audience, discussing the deceased.  The three women are the same at different stages of their lives: 26 idealistic, 52 bitter and cynical, and 92 content that it is all behind her now and she doesn’t have to deal with it anymore. Each one theorizes which is the best time in life.

Now back to Ms. Jackson. Leaving the stage for 25 years and being part of the British House of Commons has not dimmed her stage presence one iota. My personal favorite Glenda Jackson film is her 1973 Oscar-winning performance in A Touch Of Class. She was forceful, dominant and a force to be reckoned with; she hasn’t lost her touch and damn she is a classy lady through and through. Even when she is talking about her late husband’s genitalia, she peppers it with such frivolity that she manages to bring the house down. Here is an instance when an actor and role were made for each other, a performance for the ages.

Laurie Metcalf, who last year won a Tony for Best Performance by a Leading Actress for A Doll’s House, Part II supports Ms. Jackson admirably in Part I, then glows as a red-hot ember in the second half. Her depiction of middle-aged bitterness is sublimely real. She is becoming a Broadway staple and a perennial Tony nominee, and for my money, she should return to Broadway annually.

Alison Pill, who is an accomplished actress in her own right, is in the least admirable part. Her part is the least developed and lacks much dimension. She does have a sincere moment in the second half as she retells a moment of her youth.

Broadway audiences are in for a real treat with Three Tall Women, beautifully directed by Joe Mantello. He has imbued it with so much texture and richness that the play seems timeless. Besides seeing one of Albee’s best and least revived plays, you will be experiencing a ferocious force known as Hurricane Glenda, a powerful tour de force in the best of ways.

Edited by Scott Harrah
Published April 25, 2018
Reviewed at April 24, 2018 press performance.

‘THREE TALL WOMEN’: Alison Pill, Laurie Metcalf & Glenda Jackson. Photo: Brigitte Lacombe

‘THREE TALL WOMEN’: Glenda Jackson & Laurie Metcalf

‘THREE TALL WOMEN’: Glenda Jackson. Photo: Brigitte Lacombe

‘THREE TALL WOMEN’: Alison Pill, Glenda Jackson & Laurie Metcalf. Photo: Brigitte Lacombe

‘THREE TALL WOMEN’: Alison Pill, Glenda Jackson & Laurie Metcalf. Photo: Brigitte Lacombe

‘THREE TALL WOMEN’: Alison Pill. Photo: Brigitte Lacombe

The post ‘Three Tall Women’: Stellar Albee revival appeared first on StageZine.

‘A DOLL’S HOUSE, PART 2’: Laurie Metcalf, Chris Cooper & Jane Houdyshell. Photo: Brigitte Lacombe

A DOLL’S HOUSE, PART 2
Written by Lucas Hnath
Directed by Sam Gold
Through July 23, 2017
John Golden Theatre
252 West 45th Street
(212-239-6200), www.DollsHousePart2.com

By David NouNou

In 1879, Henrik Ibsen wrote A Doll’s House where in the end, Nora Helmer slams the door of her house, leaves her husband and her children and walks away from a marriage that she felt was her prison. Quite remarkable for its day for a woman with no means of support to take such action. In 2017, Lucas Hnath has written A Doll’s House, Part 2 in which Nora comes back knocking on the door of the house she walked out of 15 years ago.

Nora (Laurie Metcalf) has come back and is greeted by Anne Marie (Jayne Houdyshell), the family nanny and housemaid. It’s an awkward moment but soon turns into hilarity at every turn, thanks to Mr. Hnath’s brilliant writing. Nora has not come to apologize or be forgiven for walking out on everyone but has come back to get something she wasn’t given 15 years earlier.

Nora has done very well for herself. She has become a successful female writer with plenty of money and lovers along the way. Nora has written many books under a pseudonym advocating freedom for women who feel shackled by the restraints and chains of their marriage by divorcing their husbands and starting a new life. In the process, she has provoked a judge who has found her real identity and is going to expose her for the sham that she is.

Thus her reason for her appearance at her husband’s doorstep. Torvald Helmer (Chris Cooper) never filed the divorce papers as he promised Nora he would. People assumed when she left that she was sick, went to a sanitarium and died. People felt sorry for Thorvald, his reputation at the bank strengthened and he never bothered to correct anyone.

The wheels are set in motion for what is to be the thrill ride of the theatrical season. Nora not only left Torvald and Anne Marie, but she also left behind a young daughter, Emmy (Condola Rashad), who has grown up into a young lovely woman. Like her mother, she is strong-willed; unlike her mother, she wants to get married to the man she is engaged to and wants to be enslaved by the man she loves. In this case, Nora cannot see Emmy as an ally to get her divorce.

What is absolutely astounding is how Mr. Hnath has taken Ibsen’s characters and given them new and far more complicated lives than Ibsen would have ever imagined. There are so many sides to align with, but the allegiance keeps shifting. Nora, Thorvald, Emmy and Anne Marie are all embroiled in these dilemmas and the audience is marveling at the expertise of the writing and the humor that is peppered throughout the play.

The performances at the John Golden Theatre are among the best you will see this season. The play has garnered eight Tony nominations and is sure to win a few: Laurie Metcalf, as Nora, is a sure shot. She is monumental and a force to be reckoned with. Jayne Houdyshell. who won Best Featured Actress in a Play Tony last year for The Humans, is up again this year in the same category, as is Condola Rashad. They are the embodiment of featured actresses and great in their parts and what a thrill it would be to see a tie where both of them could win.

There is some redemption here for Sam Gold, the director. After he deliberately stripped all the poetic lyricism and butchered the magnificent The Glass Menagerie earlier this season with his awful minimalism, it’s minimalistic here as well, but it serves the purpose. With expert writing and excellent performances, I can easily see The Doll’s House, Part 2 being named the Best Play of the Year.

Edited by Scott Harrah
Published May 8, 2017
Reviewed at performance on May 7, 2017

‘A DOLL’S HOUSE, PART 2’: Laurie Metcalf & Condola Rashad. Photo: Brigitte Lacombe

‘A DOLL’S HOUSE, PART 2’: Laurie Metcalf & Jane Houdyshell. Photo: Brigitte Lacombe

‘A DOLL’S HOUSE, PART 2’: Laurie Metcalf & Jane Houdyshell. Photo: Brigitte Lacombe

‘A DOLL’S HOUSE, PART 2’: Laurie Metcalf. Photo: Brigitte Lacombe

The post ‘A Doll’s House, Part 2’ thrill ride of season appeared first on StageZine.

‘MISERY’: Bruce Willis as Paul Sheldon. Photo: Joan Marcus

MISERY
Written by William Goldman
Based on the novel by Stephen King
Directed by Will Frears
Broadhurst Theatre
235 West 44th Street
(212-239-6200), www.MiseryBroadway.com

By David NouNou

To see or not to see Bruce Willis in Misery? That is the question.

Anyone can tell you it is far easier to adapt a thriller or mystery to the screen than it is to take an iconic suspense film and adapt it to the confines of the stage. A stage play can be expanded to the screen and sometimes made better. Case in point: Sleuth, and sometimes not, as in Deathtrap. However, when you take a novel written by Stephen King and then adapt it to an exhausting thriller, as Rob Reiner did in the 1990 movie, it is virtually impossible to turn it into a stage play unless you have a brilliant playwright and an equally experienced, visionary director.

In order for a thriller to really work, it needs tension and balance; and if you’re scaling it down for the stage, you need a scene that is totally new and the audience does not see it coming; that’s where the first-rate writer comes in. Recreating iconic scenes from a movie in semi-darkness, inserting cheesy horror music and creaky sound effects, is not innovative direction; it is lazy and unimaginative and borders on tedium. I am a proponent of big Hollywood stars coming to Broadway, it’s great for business and invigorates sales, but in this case, inserting a big movie star and a beloved TV veteran in the title roles just doesn’t cut it.

Misery is set just outside of Silver Creek, Colorado in the winter of 1987. A popular novelist, Paul Sheldon, has skidded off a mountain road in what would appear to be a fatal crash, during a snowstorm. That we see in the movie. In the play, we are told that Annie Wilkes, his “number one fan,” has pried him out of his car and brought him over to her house to recover. She is a nurse and is helping him to recuperate from his multiple injuries. In case you forgot, James Caan and the outstanding Kathy Bates (who won an Oscar for her performance) played the roles. Here, Bruce Willis and Laurie Metcalf portray the parts of Paul and Annie.

What Rob Reiner did in the movie, which was astounding, was he turned the viewer into Paul. We were experiencing every painful, harrowing ordeal he was going through by the hands of the grotesque Annie. The greatness of the movie also involved the dynamics and the chemistry of the actors: James Caan, who was lanky, and Kathy Bates, who at certain camera angles was huge. That’s where the tension came in, so how was he going to escape the clutches of this behemoth? You know the rest of the story, so why spoil it for you, in case you forgot the novel or the movie?

Bruce Willis and Laurie Metcalf are both accomplished stars, and one would think they would make a dynamic duo. Wrong. We know Mr. Willis is a great superhero on the screen; unfortunately, he is one-dimensional on the stage. We also know that no one can do crazy better than Laurie Metcalf, but from the onset here she just comes off as demented, and there is no shading to her character, thus there is nowhere for her to go but do shtick. Again, this could be attributed to the absent direction by Will Frears, which does not help either actor. Even the final battle between them, which should be epic and an edge-of-your-seat moment, just comes off as a staged, by-the-numbers fight and evokes laughter from the audience. At this point, the audience should be drained, not laughing as a tension releaser. Once more, this is the fault of lackluster direction.

Which brings us back to paying big bucks to see or not to see Bruce Willis in Misery? That is the question.

Edited by Scott Harrah
Published November 19, 2015
Reviewed at press performance on November 18, 2015

‘MISERY’: Bruce Willis. Photo: Joan Marcus

The post ‘Misery’: Stage adaptation misses the mark appeared first on StageZine.