Celia Keenan-Bolger & Brian J. Smith in The Glass Menagerie
I’ve yet to see a decent production of Romeo and Juliet, and that includes the dreary new Broadway revival helmed by British director David Leveaux. More than any of the Bard’s works, Romeo and Juliet is a story about youth, passion and impetuousness—all of which are non-existent in Leveaux’s cockamamie modernist production. From the flaming curtain rods to Romeo’s motorcycle to the updating of Shakespeare’s text, Leveaux favors style over substance and loses Shakespeare’s love story in the process. Though too old to play Romeo, Orlando Bloom gives a competent performance and there’s no denying he’s rakishly handsome. As Juliet, however, Condola Rashad is out of her element and miscast. There’s not an ounce of the requisite sizzling chemistry between them and the rest of their supporting cast (including a strong Christian Camargo as Mercutio and Jayne Houdyshell as Juliet’s Nurse) are adrift amid Leveaux’s meddling.
At this point it hardly matters what anyone says about John Tiffany’s acclaimed revival of Tennessee Williams’ The Glass Menagerie, since it’s been anointed as the must see event of the season. For my part, I certainly agree it’s a wonderful production, but I have several quibbles with Tiffany’s rendition and they begin with Cherry Jones’ towering performance as Amanda Wingfield. Yes, Jones is brilliant, and, yes, I’d pay to see her read the phone book. But her Amanda starts at a loud, fever pitch and has nowhere to go the rest of the play. Though she is the most gifted actress of her generation, there’s also a monotonous quality in Jones’ volume and in her molasses-drenched accent that robs Amanda of the layers of vulnerability that are so crucial to her portrayal. Similarly, Zachary Quinto lays the accent on a little thick, too, and doesn’t necessarily make it clear Tom is gay, as some reviews would lead you to believe. I also hated all the unnecessary choreography and pantomiming that goes on courtesy of Tiffany and “movement director” Steven Hoggett. In short, I much preferred the Roundabout’s gorgeous 2010 production at the Laura Pels. One aspect of the Tiffany revival that’s not in doubt, however, is the wondrous “Gentleman Caller” scene at the end of the play as performed by the luminous Celia Keenan-Bolger as Laura and the handsome Brian J. Smith as the Caller in question. It’s a master class in acting and as perfect a rendering of that scene as will ever be performed.
It’s difficult to assess the worth of Natural Affection, an obscure late play from William Inge now being revived by The Actors Company Theatre (TACT), because it’s so badly cast and directed. A potboiler about lust, resentment and violence colliding at the dawn of the sexual revolution, neither the cast nor director Jenn Thompson understands what the play is about and are unable to play the text, let alone Inge’s critical subtext.
Slightly better, but similarly misdirected, is Keen Company’s revival of Jon Robin Baitz’s 1989 play, The Film Society. Director Jonathan Silverstein’s clunky staging and the cast’s inconsistent accents hamper Baitz’s complicated story of political change at a South African boys school in 1970. But as the play’s emotional fulcrum, Euan Morton is terrific and Roberta Maxwell, Gerry Bamman and Richmond Hoxie make nice contributions, too.
Romeo and Juliet plays through January 12 at the Richard Rodgers (226 W 46th St, RomeoAndJulietBroadway.com. The Glass Menagerie plays through February 23 at the Booth (222 W 45th St, TheGlassMenagerieBroadway.com. Natural Affection plays through October 26 at the Beckett (410 W 42nd St, TACTNYC.org). The Film Society plays through October 26 at the Clurman (410 W 42nd St, KeenCompany.org).