As for New York, there are a handful of truly exceptional productions that have opened this fall, supplemented by host of other lesser, but still very fine works.
"The Glass Menagerie" revival on Broadway starring Cherry Jones is that rare thing - a revival of a great classic work that is so fresh and inciteful in its perspective that it makes an often seen play feel like new. Credit for this stunning piece of theater has to be shared among the outstanding director (John Tiffany), the design team, and the pitch perfect cast led by Ms. Jones and supplemented by Zachary Quinto, Celia Keenan-Bolger and Brian J. Smith. I have seen this production twice, and each time it held me spellbound for the course of its 2 and one half hour length which just flies by. This is a "Glass Menagerie" for the ages.
Over at St. Ann's Warehouse, the Donmar Warehouse production of the female prison set "Julius Caesar" is a stunning take on Shakespeare's classic tale of power, corruption and deception. Never have I seen this (or almost any Shakespeare work) done with such clarity, precision and urgency. The entire cast shines, but Harriet Walter deserves special note as the complex and conflicted Brutus.
The Public is presenting the fall's finest new musical and the best Brecht production I have seen. Not to be missed is the touching new musical "Fun Home" adapted from Alison Bechdel's graphic novel memior. This is a musical you need to lean into, not one that blasts away at you, and its power and emotional pull is heightened by its subtlety. The score is beautiful and the cast and direction are terrific. If musical theater is to survive, in my view this is the type of show on which that survival depends.
I hestitated seeing "The Good Person of Szechwan" at the Public, notwithstanding the fine reviews this production received in its prior off-Broadway offering. This was due primarily to the fact that I have never seen a Brecht production that really worked for me. Imagine my surprise at finding this show succeeding on all fronts. The engine that makes it all work is unquestionably the incedible performance given by Taylor Mac in the lead role. Mr. Mac provides the heart and soul that I often find lacking in most mountings of Brecht works. This production has heart, soul and intelligence.
The four shows listed above are all shows that I woud consider "don't miss" recommendations. Two other fall shows that I would place in that category, but for the fact that they have already closed, were "Mr. Burns, A Post-Electric Play" at Playwrights Horizons and (switching gears to Los Angeles), Phillip Glass and Robert Wilson's stunning, perspective altering "Einstein On The Beach" at LA Opera.
While not quite rising the the heights of the above mentioned shows, there are many more very good shows that have opened this fall. "Bad Jews" at Roundabout's Laura Pels Theater is a funny, biting look at the wounds inflicted by family members. Nearly the same description could be used to describe the fine remounting of "Hopey, Changey Thing," the first part of the four part Apple Family Plays at the Public. Although I am generally left wanting by most musical revues, I thoroughly enjoyed the extremely well staged and performed Cotton Club revue, "After Midnight."
I also enjoyed, to a lesser extent, "Betrayal" with Daniel Craig and Rachel Weisz, "Domesticated" at Lincoln Center with Laurie Metcalf and Jeff Goldblum, and "Luce" at LCT3.
In Los Angeles, the one show now playing that I would recommend is the well acted and staged "Lost Girls" at Rogue Machine Theater. As for shows that I recommend you miss, please see my prior post on this blog and my most recent twitter feeds (@KenderTheater).
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