The Real Thing

photo: Joan Marcus

 

The Real Thing, Tom Stoppard’s popular romantic comedy (if it can be called that), is back on Broadway in a starry revival from the Roundabout Theatre Company. This is Roundabout’s second Stoppard offering this season; their Off-Broadway space is currently housing the first major New York staging of his 1995 play Indian Ink. Regular readers of this blog will remember that I favorably reviewed that production last month. Unfortunately, despite a strong central performance from Ewan McGregor, in his American stage debut, this outing is far less successful.

The Curious Incident of the Dog in the Night-Time

Brinkhoff/Moegenburg

Have you ever seen Change of Habit (1969), the last movie Elvis Presley had a starring role in? Presley plays a doctor who works at a clinic. . . "In the Ghetto". Mary Tyler Moore co-stars as an undercover nun (seriously) who assists him in the clinic and, soon enough, agonizes over whether she should throw Jesus over for him. It's as horribly, brilliantly, gloriously awful as it sounds, and if you haven't seen it, you should, especially if you are drunk, high or (ideally) both. A subplot involves a young, autistic patient at the clinic. "She's hiding behind a wall of anger," Elvis knowingly tells Mary when they first examine her. Elvis and Mary eventually load up on coffee--and gumption!--and let the patient rage and scream and flail and cry for, like, a full day without a break. Lo and behold, at the end of the day, she's exhausted, but magically cured of autism, and Elvis and Mary happily go back to making moony eyes at one another while attending to other slum-dwellers.

Change of Habit popped into my head at some point during The Curious Incident of the Dog in the Night-Time, not because the latter is even remotely awful, but because I wondered if, someday, The Curious Incident would seem as quaintly ridiculous and outdated as Habit is when it comes to its depiction of neurodevelopmental disability. I certainly hope so, not only because medical advances are a good thing, but also because I have a son on the autism spectrum, and I admit feeling frequently frustrated by how little anyone really knows about the disorder. During positive moments, though, I like to remind myself that, at the very least, we've left Elvis in the dark ages. As far as autism goes, we no longer resort to dumb, simplistic assessments involving real or metaphorical walls of anger. As we work toward answers, simplistic black-and-white dichotomies have given way to a lot more gray. There's something comforting in the gray. It's what we have right now. That's something.

Lips Together, Teeth Apart

photo: Joan Marcus

 

Terrence McNally’s Lips Together, Teeth Apart was written at the height of the AIDS epidemic, and premiered Off-Broadway in 1991. The original production—which starred Nathan Lane, Swoosie Kurtz, Christine Baranski, and Anthony Heald—was an instant smash, running for over a year; an LA production, with Lane, Andrea Martin, and John Glover, was also very successful. The work of a gay author who would go on to write several plays about AIDS from a gay perspective, Lips Together is unique—both then and now—for portraying the experience of a disease so often linked with the gay community through a heterosexual lens. Some might even call the play a precursor to McNally’s enormously successful, similarly-themed Love! Valour! Compassion!.

Lips Together was set to make its Broadway debut in 2010, via the Roundabout Theatre Company, but that production was derailed just weeks before it was set to begin previews when its star, Megan Mullally, abruptly quit. (Rumors at the time swirled that Mullally had tried to get her co-star Patton Oswalt fired, in order to replace him with her husband, Nick Offerman). The piece is now receiving its first New York revival under the auspices of the Off-Broadway Second Stage Theatre. As with any once-current play that has aged into a period piece, there are more than a few creaky moments. And while this production is smoothly directed (by Peter DuBois) and features at least one stand-out performance, it does not make a convincing case for the play as an enduring masterpiece.

The Oldest Boy

photo: T. Charles Erickson

Tenzin is three years old. He lives in what is described as "an American city with a large Tibetan community." His Mother (Celia Keenan-Bolger) is a white American academic, whose literary specialty is the use of religious symbolism in the works of atheist authors. His Father (James Yaegashi) is a Buddhist exile who owns a Tibetan restaurants. In all respects, Tenzin appears to be a normal toddler. That is, until the day two monks arrive at the family's house and inform his parents that they believe him to be the reincarnation of a venerated Lama.

Sarah Ruhl's The Oldest Boy, currently in previews at Lincoln Center's Mitzi E. Newhouse Theater, looks at issues of faith, family, and sacrifice through cultural and religious lenses. The characters, particularly Mother and Father (with the exception of Tenzin--the title character--no other figures are given names), are forced to question the duties they owe to their past, their future, and their culture. When the monks ask permission to take Tenzin to India to be "enthroned,"
and educated so that he may achieve his full potential within the Buddhist tradition, the American notions of childhood and family are placed in contrast with the Tibetan monastic custom. The family must decide whether to keep their son at home, in America, or sacrifice his life for the well-being of a country he will likely never see.

You Can't Take It With You

Sara Krulwich

You Can't Take It With You, currently running in star-studded revival at the Longacre, has been reviewed twice already on this blog. Wendy really enjoyed it (you can read her review here); Cameron really didn't (you can read his review here). I'd place my take on the production somewhere in-between theirs, though maybe a little closer to the Wendy side of things (sorry, Cameron): I enjoyed myself, in large part because I found the current Broadway production to be lively and well-performed and quite funny. But also, I dug the nostalgia trip: I played Penelope Sycamore in the Central Catholic High School of Pittsburgh's 1983 fall production, and seeing the show (with a friend who played Alice in a Denver high school production a few years later) brought back fond, if surprisingly fleeting, memories. Was the revival the best thing I've ever seen on Broadway, or even at the Longacre? No. Was it the worst? No. Did it seem like the all-star cast was having as much fun as I remember having when I was in the play? You betcha.

You'll likely have lots of fun, too, if you go to see it. Then again, the world probably won't end if you don't, and You Can't Take It With You is all about doing what you feel like doing, so you can decide and I won't judge you either way. That's about all I have to say about this particular production. I'd rather talk here, instead, about You Can't Take It With You from a more socio-historical perspective. Again, honest, I won't judge you if you stop reading right now.

The Curious Incident of the Dog in the Night-Time

Photo: Brinkhoff/Moegenburg

The only aspect of The Curious Incident of the Dog in the Night-Time about which I am curious is what the appeal of this show is to so many people. Adapted by Simon Stephens from Mark Haddon’s prize-winning novel and transported from London, where it won seven Olivier Awards and continues to do brisk business, the current Broadway production opened over the weekend to rapturous reviews. (Example: Marilyn Stasio of Variety implores us to “believe the buzz” and describes it as “spectacular, like Cirque du Soleil for the brain.” Okay.) The box office numbers are through the roof, and major award nominations are a foregone conclusion. Then why did virtually every aspect of this endeavor leave me so cold?