(Clicking on a name bolded in blue will take readers to that actor or show's entry in the Playbill Vault.)
1776 at the Roundabout (1997) and at Ford’s Theatre (2012)
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"I love this show. If I was a man, I would try to play every single character in that Congressional Chamber throughout the course of my career. These two particular ensembles were really quite wonderful, and both productions were so well-staged. I saw the Roundabout production at the long-gone Criterion Center, before it transferred to the Gershwin, and that space was simply ideal for those booming voices to ricochet off the walls during 'Sit Down, John.' And Ford’s Theatre was another perfect spot for it. A big-but-simple show in an intimate space is a rare, lovely beast." |
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Urinetown (2001)
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The ensemble of Ragtime (1998)
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"Powerful performers in a powerful show — you’d think it would be overkill, right? The pairing of Audra McDonald and Brian Stokes Mitchell alone was electric, but add Marin Mazzie and Peter Friedman to that and now you’ve got wildfire… and then add that huge, gorgeous throng of 40 or so other keen-eyed troupers to the mix and it’s sheer dynamite to blow the roof off of whatever we’re calling that theatre now." |
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The ensemble of Assassins (2004 Revival)
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Deanna Dunagan and Amy Morton in August: Osage County (2008)
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Bob Martin in The Drowsy Chaperone (2006)
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Jay Johnson in The Two and Only (Off-Broadway run, 2004)
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Peter Bartlett in Paul Rudnick’s monologue Cabin Pressure (Summer Shorts 2012 at 59E59)
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Norbert Leo Butz in Dirty Rotten Scoundrels (2005)
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Bill Irwin in Who's Afraid of Virginia Woolf? (2005)
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"I remember when this production’s casting was announced and there were some grumbles about Bill, which I didn’t understand. Apparently, people couldn’t see beyond Fool Moon and the like, even though he’d done plenty of other things. Sadly, people like to put actors in little boxes. After I saw him fully and beautifully inhabit this character with just the right balance of bitter and meek and lava, and then go on to win the Tony for it, I was so proud of him for proving that one does not have to be confined by the silly boundaries that others define for us." |
The 39 Steps on Broadway (2008) and at the Repertory Theatre of St. Louis (2010)
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"This was such a visual delight, so fresh and full of surprises, which of course is always unexpected when you’re seeing an adaptation of a classic film. And to see a regional production of it was extra fascinating, because they were prohibited from using the gimmicks of the original production (like the shadow puppet sequence). It was completely different and unique from what I’d seen on Broadway, but still worked to equal, charming effect." |
