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PLAYBILL ON OPENING NIGHT: August: Osage County — Deliriously Dysfunctional
By Harry Haun
05 Dec 2007
The family skeletons are dancing as fast as they can in August: Osage County, a graceful swan-dive into domestic donnybrooks which landed with a major critical splash at the Imperial Dec. 4.
Rarely, they say, has home, hearth and hell been so hilariously served.
Familial in-fighting has produced some famous American plays, and this new addition demonstrates how the gritty has gone to giddy — from The Little Foxes and Long Day's Journey Into Night to Who's Afraid of Virginia Woolf? and A Delicate Balance. Humor
battling for life amid the billowing chaos is what Tracy Letts has brought to this genre,
and it transforms this familiar terrain into something quite fresh and — startlingly! — funny.
He wrote, if not sculptured, this opus to the talents of his fellow actors in Chicago's
Steppenwolf Theatre Company — and then let 13 of them duke it out, refereed artfully by
troupe director Anna D. Shapiro.
The play is set in a big, rambling framed
house in Pawhuska, OK, some 60 miles northwest of Tulsa. The wind that comes sweepin' down the plain here is mostly verbal tornadoes that can go from personal to physical. Indeed, one character calls her condition after many bruising exchanges "the plains."
For mood-setting foreshadowing of the abrasive togetherness ahead, consider how in the opening scene Beverly Weston (played by the author's father, Dennis Letts) describes the
lay of the land to Johnna Monevata (Kimberly Guerrero), the woman he has hired to be
the family housekeeper/caregiver: "My wife takes pills, and I drink," he says. "That's the
bargain we've struck." Then, he hits the door and takes a permanent powder, leaving the
stage to a Medusa-like matriarch, the violently abusive Violet Weston (Deanna
Dunagan), who delivers knockout punches to her three daughters and, democratically, anyone else who crosses her path for three acts and three-plus hours.
Lest that strike you as a long time in the ring, rest assured that once the play catches fire
the hours melt away. "Everybody says that," Dunagan admitted. "'Three and a half
hours!' And then they say, 'Oh, it doesn't feel like we were there an hour.' You know, we
had one audience here in New York that actually applauded during the blackouts before the curtain — in anticipation of the curtain going up. That has never happened to me before."
One first-nighter who roared over the mother's malevolent rampages was Elaine Stritch,
herself a veteran Virginia Woolf-Delicate Balance combatant. "That's very interesting," Dunagan said, turning the compliment over in her head. "I did A Delicate Balance a
couple of years ago, and I did her role. But I didn't have a person in mind for this
performance. It's Tracy's grandmother, y'know, but he wrote it in such a beautiful way. The rhythms and the language are there, and they tell you exactly who that character is."
Letts had no problem admitting the factual roots of the role: "Yes, it's based on my
grandmother. When I gave the play to my mother to read — my grandmother's
daughter — my mother's first response was: 'I think you've been awfully kind to my
mother.' That should give you a reference point to the person we're talking about."
August: Osage County marks his first Broadway opus, and he spent opening night like George Hamilton (as Moss Hart) in "Act One" — "kinda pacing around at the back and walking in and out, that sort of thing. It was a great experience, though, seeing how well the audience reacted. It's a tribute to these wonderful ensemble actors who do such a phenomenal job. I wrote it to what they can do. It's a tribe the way we work. We know each other's moves pretty well by now. It's a tremendous relief to have this finally open."
Heretofore, Letts has worked in Steppenwolf transfers Off-Broadway — as an actor (in Orson's Shadow) and as an author (of Killer Joe and Bug). Neither play — the first was
pretty blood-soaked, the second was bizarre — adequately prepared you for the reality and
humanism in August, although the outrageous wit infects all three. His style of writing veered into a new dimension with his third play, Man From Nebraska, which was done by Steppenwolf and South Coast Rep and got him in the running for the Pulitzer Prize.
Invitations to the opening-night party were delivered sotto voce, and the guest-list
didn't go much beyond limited press and seasoned Steppenwolves. Still, this was enough to gridlock the second floor of Virgil's Barbeque on West 44th. Jeffrey Richards, Jean
Doumanian and other strike-strapped producers opted for a low-keyed, inexpensive
venue, but the down-home cooking was perfectly in keeping with the play's rustic roots.
And the mood was jubilant from the start, what with producers texting the
through-the-roof reviews and then spreading the word around the room.
Two of Steppenwolf's founding fathers were in attendance: Gary Sinise (who had just wrapped his last episode of "CSI: NY" and gone into an enforced hiatus until the Writers
Guild strike is settled) and Jeff Perry (who has a role in August, Bill Fordham, one of the
daughters' philandering husbands). "When I watch this play," Sinise said, "it's just like
watching my family up there. I've know some of these people for so long, and we've
done so many plays together. Some of us go all the way back to college, in fact."
Rondi Reed, who brings some scene-stealing comic relief to the play as Dunagan's overbearing and vulgar sister, seconded that motion. "The man who plays my husband, Francis Guinan — he and I have actually known each other for more than 35 years so when he has that line about 'We've been married for 37 years' — that's pretty close."
Sinise's Tony-nominated Ma Joad of Steppenwolf's The Grapes of Wrath, Lois Smith, also basked in the special spectacle of watching old co-stars at work. She was also up for a Tony for another Steppenwolf revival, Buried Child — and, come spring, she's rebounding to Chicago (not to Steppenwolf, to the Goodman) to reprise the performance that won her five different
acting awards in New York last year — the runaway old lady in A Trip to Bountiful. But first,
in January, she will get her name writ large and in gold on the Theatre Hall of Fame here. Continued...
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