An early April trip to London, my first such visit in years, provided a good sampling of the very vibrant current UK theater scene.
In one day I saw two shows that were exemplary- Jordon Fein's revelatory production of Sondheim's "INTO THE WOODS" at the Bridge Theatre and Robert Icke's psychologically astute take on Shakespeare's "ROMEO AND JULIET" in the West End.
Having seen countless productions of "Into The Woods" over the years, including the excellent 2022 Broadway revival, I wondered if I needed to see another one. Jordon Fein's probing excavation of the work, which uniquely explores the dark undercurrents of the first act resulting in more unified overall production, led me to conclude that in fact, this production is a must see for devotees of the show. While this was not the most beautifully sung rendition of the musical I have seen, it was the most believably sung version I have seen. The entire cast is great, but special mention has to be made of Kate Fleetwood's mesmerizing performance as the Witch that ends up centering the show.
During the brief course of my visit to London I caught a matinee performance of the youth oriented adaptation of "Romeo and Juliet" at Shakespeare's Globe, which was suitably condensed and entertaining. It served a decent primer for my viewing of Robert Icke's time focused production of "Romeo and Juliet" at the Harold Pinter Theatre (booking through 6/20), which is the finest production of this often mounted play I have seen to date. Among the many interesting conceits of Icke's work here, is the centering of Juliet such that the play feels like it is told from her mind's perspective, resulting in several scenes being momentarily played to different outcomes. The other notable directorial invention is having the Montagues speak in British accents with traditional iambic pentameter rhythms, while the Capulets speak in American accents with very untraditional and more contemporary rhythm line deliveries. The contrast is illuminating. Noah Jupe's Romeo is excellent, but the biggest surprise for me was deeply considered take on Juliet that Sadie Sink brings to her performance. Dierctor Icke again proves to be a master of fresh takes on classic works.
Two shows that I went into concerned that they might be too child audience focused for my taste ended up proving themselves to have deep universal appeal- the subversively pro-immigrant and hugely entertaining "PADDINGTON" at the Savoy and the stunningly staged and moving RSC produciton of "MY NEIGHBOR TOTORO" at the Gillian Lynne (booking through August). I highly recommend both, even to somewhat skeptical adults.
I also was fortunate to catch Director Jordon Fein's production of the rarely performed late Arthur Miller play "BROKEN GLASS" at the Young Vic. Fein gives the play a propulsive feel that underscores the play's eerie timeliness. Although the play as written is more melodramatic than ideal, this compelling and finely acted production nevertheless highlights the play's importance in the overall canon of Miller's plays.
My Spring trip to New York revealed an overall disappointing selection of end of season Broadway productions, especially with respect to new musicals. There are notable exceptions.
For one, "CATS: THE JELLICLE BALL" makes a triumphant transition from downtown to the Broadhurst Theatre and is the one "absolutely don't miss" show of the spring Broadway season in my view. It is a much needed joy bomb that feels both boldly transgressive yet universally appealing.
I also enjoyed the elegantly directed revival of "PROOF" (booking to July 19) and John Lithgow's blistering performance as author Roald Dahl in "GIANT" (booking to June 28). I further offer kudos to non-profit Manhattan Theater Club for presenting David Lindsay-Abaire's excellently paced and very funny new play "THE BALSUTERS," which features a talented 10 person cast of theater veterans, including the incomparable comedic master Marylouise Burke. "The Balusters" is the type of lower key comedic play that deserves to be seen, but which is rarely mounted due to the challenging economics of current commercial Broadway productions.
I had mixed feelings about the remaining productions I recently saw in New York (the "DEATH OF A SALESMAN" revival directed by Joe Montello, the new musical "THE LOST BOYS," the true crime podcast-esqu "KENREX," and the rather nasty at the core "BECKY SHAW" at Second Stage's Hayes Theater). There were aspects I liked about each of these productions, but not enough to recommend any of them as compared with the other shows noted in the paragraphs above.
One final theater-related recommendation. Try to seek out the outstanding National Theatre Live's filmed version of Ivo Van Hove's groundbreaking production of Arthur Miller's "All My Sons" with Bryan Cranston, Marianne Jean-Baptiste and Paapa Essiedu. Viewing this film shook me to my core, and for the first time made me appreciate "All My Sons" as an equal companion to Arthur Miller's seminal "Death of a Salesman," rather than a somewhat lesser work. I had to find a viewing of this NT Live film in New York, as my area had no scheduled screenings. I suspect this film will eventually make its way to the National Theatre at Home streaming service, but if you are somewhere where it is being screened in a movie theater I highly recommend that more immersive experience for this prime example of what can be achieved in filming a stage production for the screen.
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