środa, 10 października 2018

Fwd: Theater Update: A Season for Plays on Broadway



---------- Forwarded message ---------
From: NYTimes.com <nytdirect@nytimes.com>
Date: Wed, Oct 10, 2018 at 7:22 PM
Subject: Theater Update: A Season for Plays on Broadway
To: <pascal.alter@gmail.com>



Your "Company" memories
View in Browser | Add nytdirect@nytimes.com to your address book.

Wednesday, October 10, 2018

ADVERTISEMENT
Dear Theater Fans,
Your passionate response to my request for "Company" memories the other week let me know you love musicals (not that I needed reminding). But your stories were so vivid that I'm including some of them below. Thanks again for writing.
What about plays? In a surprise to almost everyone, this Broadway season is bursting at the seams with new dramas. Michael Paulson surveys the landscape and explains why, while Laura Collins-Hughes delivers the fascinating back story behind one of the riskiest, Jez Butterworth's "The Ferryman." (I saw it in London; even at three-plus hours, I look forward to seeing it again).
Tell me which plays you're excited about at theaterfeedback@nytimes.com. And not to worry: Musicals-wise, we have Jonathan Larson and "Oklahoma!" covered.
Have a wonderful week,
Scott Heller
Theater Editor
This Broadway Season, the Play's Really the Thing
Daniel Dorsa for The New York Times
By MICHAEL PAULSON
In a turnabout no one expected, New York's most prominent stages are rich with drama, most of it new and most of it American.

LIKE THIS EMAIL?

Forward it to your friends, and let them know they can sign up here.
'The Ferryman' Shows a Dark Irish Chapter Through a Personal Lens
Jez Butterworth was inspired to write
Jez Butterworth was inspired to write "The Ferryman" after learning about the family history of his partner, the Irish actress Laura Donnelly. Vincent Tullo for The New York Times
By LAURA COLLINS-HUGHES
It took persuading, but Jez Butterworth wrote his new play for his partner, Laura Donnelly, both to honor her history and give her a great part.
Your 'Company' Memories
"While still a teenager living in Flushing, my friends and I took the 7 train into the city in the hopes of getting standing room (the only thing we could afford then, the going price was $5) for some show I forgot. Because the show was sold out, we wound up getting tickets to a new musical (in previews) called 'Company.' We didn't know anything about it. When the curtain went up, my jaw literally dropped and eyes got wide at the beautiful structure of a set that was in silhouette against a brilliantly electric colored backdrop. I must have stayed in that position, in rapture, for the whole show. I totaled 14 times seeing it over the next two years." CLIFF SIMON
"I have never been so profoundly moved as I was by the John Doyle production. I walked around the Times Square area in a daze for an hour afterwards. The combination of the music, the story and the performers who sang, acted and played all of the instruments was magical. Of course, Raul Esparza singing 'Being Alive' was, for me, a once-in-a-lifetime moment." LINDA TROUT
"My parents saw the show right after it opened in 1970, with Elaine Stritch as Joanne and Larry Kert in the lead. They loved the show so much they decided to take 'the kids,' meaning me (age 14) and my two younger sisters to see it again. The curtain came up with I believe Larry Kert in the lead, but Elaine Stritch was not Joanne. Instead we saw Jane Russell! Being all of 14, what did I know about the subject matter? But I knew Ms. Russell was, well, she was just O.K." MARK ZETTLER
"For those of us old enough to have seen the original Broadway production — which was mind-blowing on many levels — it was the difference in performances of 'The Ladies Who Lunch' when Stritch was sober and when she was not, each thrilling in its own way. When not sober, there was a sense of being drained of everything when she sang 'Here's to the girls who just watch.' Memorable …" TED CHAPIN
"I was starting to get chubby at 14 years old and envied the slim bodies of the female actors. How someone could wear a slip onstage in 'Barcelona' comfortably and attractively, amazed me. I wanted to be an actor, too, but once the compulsive overeating and a nearly-overnight transformation to 'fat girl' took hold, I just noticed the chasm between my body size and the dimensions of the women on stage and screen. Since then, I have been in a 12-step program for food for 33 years, and, at 64, am pursuing various passions, including acting." SUSANNE KATCHKO
"The 2017 production at Barrington Stage in Pittsfield, Mass., was extraordinary. I saw the national company of the original Broadway show starring George Chakiris and Elaine Stritch in L.A. in 1971 and also the Esparza revival. And this one rivaled them both. Talk about 'Being Alive'!" MICHAEL KAZAN  
Features and News
From left, Andy Mientus, Krysta Rodriguez, Nick Blaemire and Lauren Marcus rehearse for the
Sara Krulwich/The New York Times
By MICHAEL PAULSON
A series of New York concerts will bring to life songs from the composer's catalog, some from unseen shows, several of them eerily prescient.

Jeremie Souteyrat for The New York Times
By MATT TRUEMAN
The British playwright Leo Butler believes that taking acid can have beneficial effects. His new play explores how he thinks it can help.

Annie Tritt for The New York Times
By ROBIN POGREBIN
"Sakina's Restaurant," which put him on the map, has new resonance, which is why he's summoning the energy to play all its roles all over again.

Devin Yalkin for The New York Times
By ELYSA GARDNER
With "Homeland" about to end, he's released his first new albums in more than a decade, with a young pop-minded producer pushing him to take risks.
The play
Sara Krulwich/The New York Times
By MICHAEL PAULSON
Grants will provide closed captioning of spoken words, or audio description of action, on mobile devices, in a way that is not distracting to other patrons.
Lorraine Hansberry in 1960.
David Moses Attie/National Portrait Gallery, Smithsonian Institution
By BRANDEN JACOBS-JENKINS
"Looking for Lorraine," by Imani Perry, is an admiring account of the life of the influential playwright, activist and intellectual Lorraine Hansberry.

Sebastian Sabal-Bruce
By JEREMY O. HARRIS
In "Good Grief," Ngozi Anyanwu shines the spotlight on her own experience growing up Nigerian in the middle-class suburbs of Pennsylvania.
Laurie Metcalf, left, and John Lithgow are to star in
From left: Sara Krulwich/The New York Times; Kevin Winter/Getty Images
By MICHAEL PAULSON
Lucas Hnath's "Hillary and Clinton" will be the first play with Mrs. Clinton as a protagonist to reach Broadway.
ADVERTISEMENT

FOLLOW @NYTIMESTHEATER

Follow us on Facebook and Twitter for more theater news and features.
Facebook Twitter
Critic's Pick: There's a Dark, Golden Haze in This Reclaimed 'Oklahoma!'
 Damon Daunno, left, and Rebecca Naomi Jones in a new production of
Damon Daunno, left, and Rebecca Naomi Jones in a new production of "Oklahoma!" at St. Ann's Warehouse. Sara Krulwich/The New York Times
By JESSE GREEN AND BEN BRANTLEY
A stripped-down, communal version of the 1943 musical reveals a great complex work of theater, with chili and cornbread included.
More Reviews
Rashada Dawan, foreground, with Emma Sipora Tyler and Tyler Symone in a storefront theater production of
Marisa KM
By JESSE GREEN
Can tiny companies thrive in the shadow of major institutions? In this theater-mad city, the question may actually run the other way.
Bill Irwin explores the works of Samuel Beckett in
Michelle V. Agins/The New York Times
By BEN BRANTLEY
In "On Beckett," Bill Irwin blurs the lines between clown and dramatic actor in an insightful anatomy of the works of Samuel Beckett.
Colin Hanlon, left, is a job applicant, and Rachel Nicks his interviewer in
Hiroyuki Ito for The New York Times
By BEN BRANTLEY
This bill of short comedies, early and late, allows fans of Gurney to chart the evolution of theater's foremost chronicler of a waning caste.

Brak komentarzy:

Prześlij komentarz