December 22nd, 2009
I saw this quote about The Subject Was Roses on Playbill, then had to double-check to see if it was part of the actual press materials:
“Set in 1946 during World War II, this is a timeless, important play with characters so rich and believable that your heart goes out to them, wishing they could break out of old family patterns. These are people we can all identify with. It makes for compelling theatre.”
- Michael Ritchie, Center Theatre Group Artistic Director
Wow, I thought it was only this century’s wars that were never-ending!
Or maybe they’re doing some sort of Harry Turtledove adaptation twist and the play now takes place in an alternate World War II. That’ll bring in the crowds!
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September 24th, 2009
Two Playbill.com headlines:
- LOS ANGELES: Medea, with Annette Bening, Opens in California Sept. 23
- LONDON: National Theatre’s Mother Courage Starring Fiona Shaw
I’m sure the American production will be just fine*, but Playbill, do you really have to list both productions on your front page at once? I’d rather not know what I’m missing.
BONUS CAVEAT: I’m not sure.
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July 28th, 2009
I am going to see Wildflower tonight solely on the basis of its Critic-O-Meter summary.
The play’s ending … either adds unexpected depth and drama to the sit-com-ish rest of the play or drives the play straight into ludicrous and schematic territory.
Second Stage’s synopsis for Wildflower did nothing for me, but now that I know that the play essentially crashes itself into a brick wall at the end, how can I not watch?
Whatever happens better be exciting, even if it breaks the play. A fun twist at the end of a play that can’t support it just means more work has to be done on the parts that precede it.
UPDATE: Yeah, that was pretty bogus, dude.
Tags: wildflower
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