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Entries in Joe Mantello (2)

Friday
Apr122019

Stage Door: Hillary and Clinton 

We're seeing a lot of theater in the run up to the Tonys. Here's new contributor J.B.

For the last twenty years or so, and probably longer, well-crafted stories about women in politics told on stage or screen have frequently been described with words like “timely” or “vital.”  These stories, in many cases, are ones we haven’t heard before, and to the extent we as a society want our art to imitate life (and indeed, vice versa), they are, now more than ever, ones we need to hear.

It is for this reason that Hillary and Clinton, a well-crafted story about the quintessential woman in American politics now playing at the John Golden Theater in New York, feels like such an anomaly. The play, written by Lucas Hnath and directed by Joe Mantello (his SEVENTH production on Broadway in just the last three years), takes place in a hotel room during the thick of the 2008 New Hampshire Democratic Primary and offers an imagined glimpse into what exactly the titular characters (played by Tony-winners Laurie Metcalf and John Lithgow, respectively) may have been thinking, feeling, and communicating to each other at that precise place and time in history...

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Friday
Mar172017

Stage Door: Sally Field in The Glass Menagerie

by Dancin' Dan

This is not your parents' Glass Menagerie.

It's not uncommon for theatrical "reinventions" to take place nowadays. Ivo van Howe has made it into a cottage industry of sorts, creating an intimate, visceral A View From the Bridge and a raw, elemental The Crucible in recent years. Sam Gold is of the same cloth. He made his name with an audacious revival of Look Back in Anger at the Roudabout in 2012, won the Tony in 2015 for his sensitive in-the-round staging of the musical Fun Home, and most recently directed a searing Othello with David Oyelowo and Daniel Craig off Broadway at the New York Theater Workshop.

But all those pieces benefit from a stripped back, in-some-cases radical rethinking. Tennessee Williams's memory play is a much more delicate thing, announcing as narrator Tom Wingfield does right at the start that this is a subjective work of art, a piece of memory that may or may not represent what actually happened. Productions of it generally take after the play's quietest character, the "crippled" Laura - they are generally fragile, gossamer things, as light and airy as a thought or memory hanging in the air in front of us...

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