Michael Yeargan

Corruption

March 28, 2024

Playwright J.T. Rogers ("Oslo", 2017 Tony Award for Best Play) specializes in dramatizing the backstories to true scandals of which the real details behind the facts never made the news. His latest play, "Corruption" at the Mitzi E. Newhouse Theater, is based on the book Dial M for Murdoch: News Corporation and the Corruption of Britain by Tom Watson and Martin Hickman, the story of the widespread hacking scandal by the News of the World in Britain by two of the main characters in his play. While "Corruption" is fascinating in its evil details and frightening in its all-inclusiveness (no one was exempt neither government ministers, the metropolitan police, the royal family, celebrities or the general public), it is also extremely dense in its characters, has too many scenes, and is very difficult to wrap your head around all of the facts. Bartlett Sher’s production keeps the 46 characters played by 13 actors distinct but his staging is somewhat hampered by the Newhouse’s round configuration and Michael Yeargan’s unit set which has to stand in for a great many places in and around London. [more]

Camelot

April 20, 2023

Unfortunately, though Sorkin may have made this "Camelot" more politically correct, scientifically accurate and less supernatural, it is much less entertaining and magical than earlier productions and certainly much darker as well as less funny. Whereas the original 1960 Broadway production billed itself as “the most beautiful show in the world,” Bartlett Sher’s revival has an almost empty grey stage most of the time (designed by Michael Yeargan) and drab costumes from Jennifer Moeller. Although the cast has 25 performers, the court scenes always look underpopulated as though not enough courtiers have shown up and there is almost no pageantry which one expects for a royal court of the Dark Ages or the Middle Ages. [more]

Pictures from Home

February 19, 2023

"Pictures from Home," a stark, but eventually moving vision of a family, is based on the photo memoir of the same name by Larry Sultan. Sharr White, the playwright, has taken Sultan’s expansive volume of family remembrances and reduced its literary and visual extravagances to the size of the stage of Studio 54. The director Bartlett Sher and his colleagues have fashioned a microcosmic look at a mother, father and son, all hiding behind façades carefully sculpted over decades. That they are played by three terrific theater veterans—Nathan Lane, Zoë Wanamaker and Danny Burstein—helps spin this play into theatrical gold, an intimate, human-scale work that stands out in a season of blaring musicals. [more]

Intimate Apparel

February 11, 2022

The new opera, "Intimate Apparel" is a very impressive, accessible work. If it has a fault, it is completely humorless but then the original play did not include comic relief either. Unlike Ricky Ian Gordon’s last opera, the recent Garden of the Finzi-Continis, the music here is not only beautiful but suitable and appropriate as the singers and the music are one. Lynn Nottage’s libretto is a masterpiece of economy, though her play was too. Will the opera supersede the play? Probably not, but it should certainly do well in other intimate opera houses where its charms can be fully appreciated. [more]

My Fair Lady (Lincoln Center Theater)

May 14, 2018

With an enormous painted backdrop depicting London and featuring St. Paul’s Cathedral and a lamppost (the glorious sets have been designed by Michael Yeargan), the musical begins as Covent Garden pivots into view on a revolving stage. Though, from the moment that we see him in the opening scene, Hadden-Paton seems too young as Higgins in comparison to Rex Harrison, who originated the part, he is actually closer in age to Shaw’s intentions. He also sings more melodically than Harrison, who famously song-spoke his way through the role. Though Ambrose’s voice seems weak at first (“Wouldn’t It Be Loverly?”), it gains in strength and stature as she proceeds. [more]

Oslo

May 4, 2017

The clarity of this new play by J.T. Rogers does not only rely on the smart yet surefire way it’s written, but also on the masterful staging by Bartlett Sher, who, after recent productions of both "South Pacific" and "The King and I," is no stranger to directing gargantuan shows at Lincoln Center. Given its subject--the Oslo Accord or peace treaty between Israel and the Palestine Liberation Organization (P.L.O.) in 1993--Oslo is ultimately, an enormous play. But it is told in intimate terms. [more]

Oslo

July 26, 2016

Bartlett Sher complements Rogers by punctuating the play with visual puns that substantially add to the drama and importance of the enfolding events. A dinner party at Mona and Larsen’s home is disturbed by two phone calls, ringing at the same time. Larsen fields a call from Israel and Mona takes a call from the P.L.O. Phone cords or wires are crossed, as Larsen and Mona exchange mouthpieces and try to arrange meetings and facilitate a place and time for the negotiations in Norway. [more]

Fiddler on the Roof

February 10, 2016

Do not expect an exact reproduction of the original which after four revivals is probably to the good. With the consent of lyricist Sheldon Harnick, the only surviving creator, Sher has added a prologue and an epilogue that is new. When the curtain goes up, Burstein dressed in a contemporary parka is standing near an abandoned railway station in Anatevka reading from a book (the original Sholom Aleichem stories? a guide book?) and then he removes his coat revealing that he is in Tevye’s costume and joins the opening scene back in 1905. At the end of the musical, Burstein again in the contemporary parka joins the line of refugees leaving the town on their way to the border and picks up Tevye’s cart. The modern relevance to the current situation in Europe and in the Middle East is made patently clear. [more]

These Paper Bullets!

December 27, 2015

In Rolin Jones’ re-do of "Much Ado," the soldier buddies have become a Beatles-like rock band called The Quartos, the first of many Shakespearean references. Continuing the parallels: Leonato (the always terrific Stephen DeRosa) has become Leo Messina whose Hotel Messina takes the place of the Italian town, Messina; his daughters, Bea (Nicole Parker) and Higgy (Ariana Venturi) are the Beatrice and Hero characters, whose romantic adventures with Ben (Justin Kirk) and Claude (Bryan Fenkart) (stand-ins for Benedick and Claudio), are the strength-testing plot-churners here as in the original. [more]

Love & Money

September 4, 2015

"Love & Money" is light, literate entertainment, impeccably acted by its small cast led by the charismatic Ms. Anderman. Mr. Paulik amusingly projects his lack of experience while putting up a gruff front. Ms. Dunlap’s Agnes is priceless. Mr. Brown is a tad too much of a whirlwind as Walker, but as his façade cracks, he warms up nicely. Ms. Kim is onstage for less than four minutes, but made a good impression. [more]

Bridges of Madison County thoughts from Chip Deffaa’s July 17, 2014 column

July 17, 2014

It just seemed awfully strange to me, to hear no music from the year's best score on the Tony's–while we heard some not-very-impressive music from some shows that have not even reached Broadway yet. I wish we could have heard Kelli O'Hara and Steven Pasquale singing something from Bridges of Madison County. You'd think the producers of the Tony Awards would realize that if the best of Broadway is represented on the broadcast, we all win. [more]