BIG BARD: More than any other season in recent memory, New York stages—on Broadway, Off-Broadway, in Brooklyn—were replete with titles by the Bard. And, not just productions—great productions, brimming with invention and expertise. The Public Theater furnished one of the more praised versions of The Comedy of Errors in many years, at the Delacorte; the Donmar Warehouse's all-female, prison-set Julius Caesar was presented by St. Ann's Warehouse; director Julie Taymor made a triumphant return to classical theatre with a visually stunning mounting of A Midsummer Night's Dream, which opened Theatre For a New Audience's new Brooklyn home; and the Shakespeare's Globe's all male, in-rep productions of Twelfth Night and Richard III, starring Mark Rylance as Richard III and Olivia (with all the actors in period-correct costuming, right down to their undergarments, and the musical accompaniment courtesy of medieval instruments, all under candlelit chandeliers) opened to raves on Broadway. Two productions each of the suddenly oft-produced Macbeth, at Lincoln Center Theater and on Broadway, and of Romeo and Juliet, on both Broadway and Off-Broadway, weren't as lucky with the critics. But for the Shakespeare lover, the year was one for the books.
photo by Joan Marcus |
IT'S BETTER IN REP: Repertory theatre, one of the oldest stage models in the books, became newly hot in 2013 courtesy of two British imports. Thanks to a raft of hosannahs from the critics, and double Tony winner Mark Rylance's pull with New York theatre audiences, the all-male, in-rep renditions of Twelfth Night and Richard III, from Shakespeare's Globe, have been beating them back at the box office. The double-bill of Beckett's Waiting for Godot and Pinter's No Man's Land, starring British stage royalty Ian McKellen and Patrick Stewart, performed nearly as well with both critics and audiences. Both events illustrated that sometimes two shows are better than one.
Photo by Jacob Cohl |
IT'S ALL AROUND YOU: Immersive theatre experiences—perhaps inspired by the ongoing success of the site-specific Macbeth spin, Sleep No More—enjoyed a banner year in 2013. Natasha, Pierre & The Great Comet of 1812, Dave Malloy's critically acclaimed electropop opera based on a slice of the epic novel "War and Peace," moved from a summer run in the Meatpacking district to a supper club-style venue built especially for the production in the Times Square area. It has now been extended into 2014. Here Lies Love, the popular David Byrne-Fatboy Slim musical at the Public Theater, which took the political rise and fall of Filipino leaders Imelda and Ferdinand Marcos as its subject, encouraged audiences to wear a comfortable pair of shoes and dance during the performance, which was set within a dance-club atmosphere. And the Donmar Warehouse mounting of Julius Caesar ushered audiences en masse into a facility that resembled a prison. Each was Theatre with a capital "T."
BROWN COMES ROUND: Composer Jason Robert Brown's career, which has run hot and cold over the past 15 years, burned blazingly bright in 2013. His The Last Five Years was revived Off-Broadway by Second Stage. Honeymoon in Vegas, a new Brown-scored musical which has been knocking about for some years, received unexpectedly strong notices at its world premiere at the Paper Mill Playhouse in New Jersey and is now aiming to play Broadway. Most significantly, The Bridges of Madison County, a new musical by Brown and Marsha Norman, set a Broadway opening of Jan. 17, 2014, at the Gerald Schoenfeld Theatre.
Photo by T. Charles Erickson |
BATTING 1000: It doesn't happen very often, but sometimes a theatre company hits a groove. The Public Theater did so this fall. Because the nonprofit produces so many productions every year, each Public season is almost by definition hit-and-miss. Not this time. Everything it threw on a stage— the Theatre for a New Audience co-production of Wallace Shawn's Grasses of a Thousand Colors; Elevator Repair Service's Arguendo; The Foundry Theatre's The Good Person of Szechwan; Mike Daisey's month-long series of monologues in Joe's Pub, All the Faces of the Moon; the new, world-premiere musical Fun Home; and the final edition of Richard Nelson's critically popular "Apple Family" plays—won the approval of the lion's share of critics. Sometimes, you just can't lose for winning.