Broadway isn’t just humming along; it’s singing at the top of its lungs. Having just returned from a theater blitz, it was all worthwhile. Advance planning certainly helped. Yes, “Othello” was expensive, but we bought those tickets well before it opened, something we were also able to do with some of the others. Word to the wise: if you wait until the reviews are in, you will be paying premium prices for the best shows. There definitely was some sticker shock but upon reflection, there was no regret.
With careful planning, you can fill your dance card with a play every night and matinees on Wednesdays and Saturdays, making it possible to see nine plays in seven days. We were more conservative and only saw seven, one of which recently closed.
“Vanya,” the multiple award-winning one-man rendition by Andrew Scott (“Ripley”), was breathtaking. This Chekhov play was reimagined by Scott and his collaborators, Simon Stephens and director Sam Yates, telling the story about familial relationships, jealousies and disappointments. Scott was intoxicating as he wove the various characters in and out of their interactions. Minute changes in tone, use of minor props and body movement all contributed to defining the nine (yes, nine!) characters in this story set on a large, faded family estate. The chance to see the mesmerizing Scott act on stage, up close and personal in a small Off-Broadway theater is a must-see at any price. Totally sold out, your best bet might be the online lottery or digital cancellation line. It can also be seen on the National Theatre at Home streaming service (ntathome.com).
“The Picture of Dorian Gray” is another one-man, or rather one-woman performance by Sarah Snook of “Succession” fame. This Oscar Wilde masterwork is about an aimless and feckless stunning young man, Dorian Gray, who has sold his soul to the devil so that he will remain beautiful while his portrait ages, showing the outward signs of Gray’s debauched existence which the corporal body does not.
Unlike any other one-person play, Snook uses electronics, cameras and recordings to play the more than 20 different characters encountered by Gray. Stunningly achieved, you will gasp as the Dorian on stage confronts himself and others (all different permutations of Snook) as screens flash before you. There are few hidden tricks, although some of the videos have been prerecorded, as Snook is followed by an entourage of filmmakers shooting her in real time as she tells the story of the degenerate life of Gray. This must-see is at The Music Box through June 15.
“Gypsy,” one of the mainstays of American theater, has long been a favorite of some of Broadway’s greatest singers who eagerly embrace the music of Jule Styne and the lyrics of Stephen Sondheim. The character of Mama Rose has been memorably played by a string of actresses, most winning Tonys in the role. Each has left her mark on this character and now, like her Mama Rose, it’s Audra McDonald’s turn and it’s indelible.
“Gypsy” tells the story of Rose, the most horrific and controlling stage mother to grace the boards, who is determined to make Vaudeville stars of her two daughters, the talented June and the hapless Louise. To Rose’s surprise, it is Louise who gains international fame as the stripper, Gypsy Rose Lee.
Rose is a monster, no two ways about it; but each other actress has found a way to mitigate Rose’s narcissism and self-focus by infusing her with the vulnerability of a life not lived. Such is not the case with McDonald. In her operatic voice, Rose is steeped in ferocity. There is no vulnerability as best illustrated in her final number, “Rose’s Turn,” where the violence and force of her true feelings about her life break through powerfully. This is who she is and its effect is devastating. There is no redeeming humanity coming through, only a life full of disappointment. One even has to ask if she actually wanted her girls to succeed.
This is a must-see as far as I’m concerned because of the music, so well-known, and the memorable performance of Audra McDonald. I’ve seen four other “Gypsy” performances, but this one is at the top of the list. She really made it her own. Now running at the Majestic Theatre, with tickets available through August.
To be concluded in next week’s issue.
