Edmond Rostand will always have a home in Times Square. Since he wrote Cyrano de Bergerac in 1897, the play has been done on Broadway 16 times. And twice more as a musical! Unrequited love; swashbuckling; a guy with a big nose and a bigger ego — Americans can relate to all of these. (That the famous story has been filmed a few times helps.)
The last time Broadway saw the play was in 2007, when Kevin Kline took on the title role. A mere five years later, it's back, with English actor Douglas Hodge donning the fake proboscis. Jamie Lloyd directs the Roundabout Theatre Company production. (Somewhat surprisingly, this is the first time the safe and steady Roundabout has mounted the show on Broadway.)
According to the New York Times, Hodge was reason enough to revive the play. "This gale force has a name, Douglas Hodge, and it is inhabiting, enlivening and almost exploding the title character," wrote the paper. "Mr. Hodge is as light and oxygenating as air, even as the pure physical impact of his performance sets you reeling." However, there's a downside to a barnstorming star: "That old ennui crept up on me whenever Mr. Hodge wasn't onstage. Mercifully, that's only a small fraction of the production." The AP thought the production too long, but said, "This production may be a tad overdone, overstuffed and overwrought at times, but it has something that Cyrano himself considered one of the most important things in the world. It has panache." Some found Lloyd's approach too "pedal to the metal," underplaying the poetry and solemn moments in the text. Wrote the Wall Street Journal: "Mr. Hodge gets what Cyrano is all about, and in its quiet moments his performance is deeply moving — but there aren't enough of them. Not only is Jamie Lloyd's staging as noisy as a concert by a band of jackhammers, but the Roundabout's production makes use of a boisterous new rhyming translation by Ranjit Bolt that updates the play's language to inconsistent effect." Echoed Variety: "A lack of restraint spoils the fun, making it all seem too big (Cyrano's honker), too much (stomping on tables), and over the top (Douglas Hodge's star turn)."
No one flinched when the producers of Nora Ephron's upcoming Broadway play Lucky Guy confirmed that Tom Hanks would star in the thing. As beloved as the recently deceased Ephron was, there was little chance that her dramatization of the life of late New York Post writer Mike McAlary would arrive on the big stage without the Oscar-winning actor topping the bill. Lucky Guy will begin previews March 1, 2013, at the Broadhurst Theatre.
Also coming to Broadway in 2013 is Eric Coble's new two-character play The Velocity of Autumn. The news came as a bit of a head-scratcher, coming out of the blue and with a remote pedigree. Coble's biggest credit to date is Bright Things, which played Off-Broadway's MCC Theater a few years back. The stars — Estelle Parsons and Stephen Spinella — are talented and experienced, but are they box-office bait? The director, Molly Smith, artistic director of Arena Stage in Washington, DC, will be making her Broadway debut. The production will also mark the first time a play that had its world premiere at Boise Contemporary Theater in Idaho has traveled all the way to Broadway. If this is the first you're heard that Boise has a theatre company, you're not alone. (But, then, folks like Smith are major champions of resident theatre — she ran Perseverance Theatre in Alaska for years before ascending to Arena, an original and major jewel in the crown of the nation's regional theatre movement.)
The Velocity of Autumn centers on 80-year-old Alexandra, an artist facing the indignities of old age and her family's insistence on moving her to a nursing home. With nothing to lose, she locks herself in her Brooklyn brownstone with a pile of Molotov cocktails and incites a standoff with her children and the police.
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