| . | 03/22/2009
Editor’s Notes: Natasha Richardson, Distracted, Firebrand of Florence, The Good Negro, Incident at Vichy
By: Jeannie Lieberman
Editor’s Notes: Natasha Richardson, Distracted, Firebrand of Florence, The Good Negro, Incident at Vichy
Maybe because I was there when Broadway paid its respects to its fallen star, Natasha Richardson, by shutting down the lights on all the theater marquees at 8PM, that I felt pride of being a part of the theater community – it was a fitting metaphor: the momentary darkness that indicated the snuffing out of a life elicited “ohhhhhhs” from the crowd in the streets, the respectful silence that followed offering reflections on the magnitude of our loss, then the spontaneous cheers as the lights went back on – for her spirit which will live long after this and also the Broadway credo that “the show must go on”.
Maybe its because I may have a touch of the condition myself, but I found it very difficult to focus my attention on Distracted, a very noisy play, considering it is such a small cast, about a nine year old diagnosed with ADHD. The very audibly foul mouthed offensive boy in question (are we meant to feel compassion for this irritating child?) is thankfully offstage until the last scene when he suddenly morphs into adorable –while he almost destroys the lives of those about him. Unless you have a child with similar problems, are a shrink, a social worker or a teacher this will create ADD symptoms in yourself!
(see Simon Saltzman’s review)
Maybe its because I just wanted to see the brand new Alice Tully Hall that the reason d’ętre for my visit, Kurt Weill and Ira Gershwin’s 1945 Broadway operetta The Firebrand of Florence was such a delightful surprise. With the full Collegiate Chorale and the entire New York City Opera Orchestra onstage and a stellar cast from the opera world, baritone Nathan Gunn, sopranos Krysty Swann and Anna Christy, and Broadway’s Terrence Mann, Victoria Clark, and David Pittu all directed by Roger Rees l I was treated to a rare once in a lifetime extravagance of talent - one of my best nights ever at Lincoln Center!!!
(see Michael Hearn’s review)
Maybe its because I knew nothing about the play except that its name The Good Negro was uncomfortable to say aloud ( “negro” nowadays has almost the same impact as the forbidden “N” word) but Tracey Scott Wilson’s incisive, multi-layered fictionalization about the Burmingham peace march was so gripping in its dissection of not only the combative relationship between the KKK, FBI, local police and white citizenry but the struggle within the black movement among its leaders and people that the two and a half hours flew by thanks to powerful acting in addition to its still resonant subject. Bravo to the Public theater once again.
(see Victor Gluck’s review)
Maybe its because I met Arthur Miller shortly before his death and even then was impressed by is macho charisma and subtle humor that I’d forgotten his brilliance so evident in his play Incident at Vichy in which he delves into the mindsets of a dozen randomly selected victims at the beginnings of the Holocaust, unable to comprehend the unimaginable evil descending on them and the denial in each that it could exist (which ultimately cost them their lives instead of fleeing) and that of the Nazi officers involved. So powerful were their portrayals that I am sorry I didn’t meet the actors afterward so as to erase the indelible images of their profoundly touching roles.
(see Deirdre Donovan’s review)
the season is just stepping into high gear, stay tuned… Jeannie Lieberman, editor
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