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January 2016 Archives

January 19, 2016

Theatre J’s The Sisters Rosensweig: Remembering Wendy Wasserstein

I saw The Sisters Rosensweig at Theatre J last night and it was a wonderfully enjoyable evening of theatre. It was particularly exciting to see the new Artistic Director, my very dear friend Adam Immerwahr, in his new artistic home. Also, I was reminded with much fondness of the author of the play, Wendy Wasserstein.

Wendy, who tragically passed away in 2006, was one of America’s best playwrights, and she was also a good and very loyal friend. We first met when we served together on a National Endowment for the Arts committee choosing worthy plays for funding, and our friendship flourished.
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My favorite memory of Wendy is from 1995 when Moon Over Buffalo was trying out at the Colonial Theatre in Boston. We were doing a typical out of town try-out: the lines were changing every day, Carol Burnett and Phil Bosco were valiantly keeping up with the latest version of the script, Heidi Landesman’s remarkable set was being polished and changed, Bob Mackie’s costumes were furiously being sewn backstage and the production, as these things always are, was a maelstrom of activity.

One day Wendy called me and said she was in town and would love to see the show. She turned up at the theatre with her friend Nick Hytner (about 8 years before he started running the National Theatre). Wendy and Nick came to the performance and the three of us went out to dinner afterwards – and we stayed up until about 2:00 a.m. as they kindly and generously gave me their notes on the state of the production and the state of the script. I saw Wendy several times after that, but our night in Boston together is the one I’ll never forget.

January 8, 2016

Close up on Cumberbach

On Monday, after dinner at the residence of the British Ambassador (I know, pinch me), my wife and I and our son Jack went to see the NT Live film of Benedick Cumberbatch in Hamlet. All in all, it was a pretty remarkable evening.
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Cumberbatch was superb – the whole cast was terrific – and it reminded me of how much I enjoy seeing theatre and opera onscreen. Of course nothing replaces a live performance, but this is certainly the next best thing. And seeing a play filmed with all the new technology and new techniques being brought to bear these days has its own, unique and very wonderful virtues.

The close-ups are breathtaking. I got a truly clear sense of Cumberbatch’s performance. Clearer than a live performance? Yes, possibly. Is it heresy to say so? Probably. But it doesn’t really compete with a live performance, it’s just a different experience.

Also wonderful is hearing every single word of the performance. And seeing the costumes in so much detail is an added bonus. And best of all, the SIZE of everything is sort of magnificent. Perhaps it takes a really big play, like Hamlet and the operas I love so much, to take advantage of the medium. But I suspect that even more modest plays would be rather great on a big screen.

What suffers? The set, for one thing. It looked like an incredible, indeed magnificent set for this production, but on a screen you can’t quite get the sweep of the thing. I also got a sense that I was missing some of stillness in the play: those wonderful moments in a live theatre when you can hear a pin drop and you’re aware of the hushed tension in the audience around you.

Perhaps the biggest loss was the sense of an intimate communal experience, the one thing that makes live theatre breathtakingly unique.

That said, what a wonderful treat to be able to see a production of this magnitude that I would have otherwise missed. That alone made the experience irreplaceable.