From classic farce, to Shakespearean comedy, to a tragic
love story, from the Westport Country Playhouse, to the Hudson Valley
Shakespeare Festival on the grounds of Boscobel, to the Imperial Theatre in
NYC, it has been a whirlwind week of theatre, the commonality being
relationships of men and women and some of the most glorious acting and staging
we’ve ever seen in such a concentrated time period.
Last week we saw A
Flea in Her Ear, a new version of Georges Feydeau’s classic early 20th
century farce at the Westport Country Playhouse where we’ve been going for some
40 years now. Although the old playhouse
has been renovated, it still retains its old time charm as their collection of playbills of
yesteryear attest, such as this one which featured Tyrone Power.
And, under the artistic direction of Mark Lamos who also
directed this particular production, the old WCP is in good hands. Its new doorways beckon its patrons.
A Flea in Her Ear
is such an ambitious, interesting selection, made possible by a co-production
with the Resident Ensemble Players from the University of Delaware, 14 actors
in perfect harmony, choreographed with such precision, that the laughter was
non-stop. It’s been a long time since I
laughed so hard at a show which, at its heart, is nothing more than intended to
do just that.
The acting made it something special. How often have you been at a three act play
with two intermissions, which seemed to pass in a flash? Michael Gotch played an unforgettable Don
Carlos de Histangua and whenever he was on stage, laughter was
uncontrollable. That does not mean to
distract from any of the other players, all pros at the top of their game, as
was the technical staff of the Westport Country Playhouse. We’re so grateful for our summer visits to
Connecticut, and to our old home town of Westport which continues to keep this
jewel of a theatre in mint condition.
Three days later we went up to the Hudson Valley Shakespeare
Festival at Boscobel in Garrison, NY.
This is outdoor theatre is in a large, well appointed tent, a sand floor
for a stage and some of the most breathtaking views. Before the show begins, the grounds make an
ideal setting for a picnic. As the production
begins, the sun fades to twilight setting just to the right of West Point on
the other side of the Hudson in the distance.
In fact the players emerge over the lawn and some of the action takes
place there, although the play proceeds in the tent.
From farce to comedy.
The Taming of the Shrew must be close to the way the bard intended except
for all the modern references, including even some music of the Village People. Once again theatre magic emerges from some
clever choreography and a group of ensemble players who are deeply immersed in
Shakespeare’s intent.
These are not easy tickets to get. Plan in advance. In fact, Ann and I could not get good seats
together but fortunately the people sitting in back of me saw us chatting and
as Ann went to her seat, they offered us the two front row seats as their friends
had booked them and last minute had to cancel out. But as the show began we learned why they
preferred the second row, as the actors frequently interact with those in the
front row, so it was not unusual for one to sit next to Ann, take her bottle of
water, look through her program, even commenting on it, all in fun of course
and it just added to the immeasurable pleasure of seeing Shakespeare performed
in this setting.
Liz Wisan played Kate with a fiery demeanor, but Biko
Eisen-Martin who played Petruchio, usually in torn jeans and an undershirt, had
the cunning and patience to wear her down.
Comedy is different from farce, the latter designed for belly laughs
while Taming’s comedic elements brought out some of Shakespeare ‘s
more serious observations regarding
male - female relations of his times (the “Me Too” movement might not
wholeheartedly approve of Kate’s final relenting to her taskmaster’s Pavlovian
training, but all is in fun).
Like the Westport Country Playhouse’s presentation, this
show is performed by a talented ensemble that performs four other plays in
rotating repertory. Everyone in the cast
is perfectly fitted into the director’s take on the show. It was more than theatre; it is an experience
when performed in the open air, in a tent, after an early evening picnic.
Last year we were part of the picnic festivities, but
we’re getting a little too old to spread out a blanket or to cart chairs so we
had an early evening dinner at the nearby the Bird and Bottle, an inn
which has operated since 1751 and used to be a stage coach stop between New
York and Albany. The food and ambiance
were special.
But the highlight of “our theatre week” was going into
New York City yesterday to the revival of Rodgers and Hammerstein’s Carousel. As soon as we heard of the serendipity that it
was going to be performed while we would be in the area we booked tickets,
front row, as we did not want to miss a word or even a mannerism of the
performers. It is the kind of show that
one only wants to see on a Broadway stage, although there have been good scaled
down or concert versions.
It’s hard to say that one has a “favorite” R&H show,
sort of like saying of your children, one is the favorite. But when I play their music on the piano, I
seem to gravitate to Carousel or The King and I, although South Pacific and Oklahoma are in the mix too.
Maybe my preference for Carousel
is partially because it takes place in New England, or the “Carousel Waltz”, a
rousing piece of musical composition, or the incredible comic/moving piece, “Mr.
Snow.” All the songs fit perfectly in
the book but the one weak song, and I think it is simply our times, verses when
the musical was written, is the (now) somewhat schmaltzy “You’ll Never Walk
Alone,” which unfortunately, is the emotional finale. Still, it works.
“Soliloquy” which concludes the first act is perhaps the
longest solo in all Broadway repertoires, one I’m constantly seeking out for
piano time. Joshua Henry, who plays the
wayward Billy Bigelow in this production and sings his parts with powerful
gusto, performs this song a little too quickly.
I simply feel it needs to be finessed in all its normally allocated
time. Perhaps this is his take or Jack
O’Brien’s direction, I don’t know, but I missed the pauses, or even the
phrasing which some have brought to the song, including Frank Sinatra, who’s
voice cannot hold a candle to Henry’s, but he knew how to sell the emotional
content.
There. The end of
picky criticism as one has to judge a performance of Carousel by its gestalt. The
orchestration is per Richard Rogers’ intent by Jonathan Tunick and a 30 piece
orchestra under the solid Musical Supervision of David Chase brings out the
highs and the lows. The singing is
splendid, the voices soaring, and how could they not with Renee Fleming among
the leads?
I’ve heard some criticism that the dance portions of the
play were not the Agnes de Mille’s original.
Given what Justin Peck accomplished with his award-winning choreography,
transparent and perfect, it is hard to accept that criticism. After all, every artist has his/her
take. Look at the liberties the Hudson
Valley players took with Shakespeare, only to arrive at the same destination. Maybe I’m
not being impartial as Peck once worked with the Miami City Ballet and
one of the performers in the Carousel
ensemble is Leigh-Ann Esty who Ann actually watched “grow up” in the Miami City
Ballet over the last decade. Ann adored
watching her every move and avidly enjoyed her perform in one of the greatest
musicals of all time on the Broadway stage.
An outstanding cast, a classic musical, a full orchestra,
and many of the best technical people in the business, make this production so memorable,
even if I have to leave the theatre humming “You’ll Never Walk Alone,” after
wiping away the requisite tears.
So after meeting our son, Jonathan, and his fiancée,
Tracie (the BIG event in only two plus weeks), for a dinner adjacent to Bryant
Park, we scurried back to Grand Central and from there to our boat, our home
away from home. This morning my daily
walk took me to Shorefront Park and the placid water of the Norwalk Harbor to
reflect on the wonderful theatre of the past week and to think of writing this entry.
