Theatre Review – Dear Evan Hansen (Broadway, New York): Heartbreaking & hopeful, it reminds us we are never alone
Dear Evan Hansen is undoubtably the show that everyone is talking about in New York and demand to see it is now resulting in people queuing overnight for the chance to get in, just as they still do with Hamilton.
I’ve yet to see Hamilton (I’m waiting for its London arrival), but curiosity had me buying a ticket to see Dear Evan Hansen during my recent NYC theatre trip, especially with its much-praised original cast. Was the hype justified? Absolutely yes and its success and ability to affect so many people, so profoundly, is something special that doesn’t come around very often.
Dear Evan Hansen is the story of a shy, socially awkward seventeen year-old, Evan, who struggles to fit in and seems isolated from the people around him. Evan’s life changes when one day, a fellow teen at his school, Connor, commits suicide and the note of Evan’s he stole from him the day before, suggests to Connor’s grieving parents that their son had a friend they never knew about, one who may be able to help them learn about the son they struggled to connect with. What follows is a truly heart-wrenching journey of a young man, who is caught up in a lie, but who along the way, gives all of the characters, all of us watching and indeed himself a sense of hope and the comforting message that we are never alone, no matter how hopeless life seems. It may sound cheesy, but I promise you that the emotional response you’ll have to this story will be very real indeed.
So relevant to today’s society is the story and the emotional experiences that the characters experience, that you could easily forget that they are indeed characters. It is an incredibly believable story, coming at a time when, despite the increased amount of ways we have to communicate with each other, so many people feel that they have no voice and are incredibly alone. The show has certainly captured the hearts of a generation of young people, who see themselves in Evan. However, the brilliance of this musical is that it has the ability to connect with all ages. Whether you are a teenager, or in your mid-30s, or older, we’ve all had times in our lives when we’ve struggled to keep going, to ask for help, or have been scared that no one is there for us. For this reason and the richness of its characters other than Evan, Dear Evan Hansen connects with everyone.
Steven Levenson (book writer), together with Benj Pasek and Justin Paul (music and lyrics) and its director Michael Greif, have created a brilliantly contemporary show, drawing on the social media world we live in (which is also woven wonderfully in to the set). The characters within it are fully realised individuals. Evan is at its heart, but each one adds to the overall magic of the show and that is strengthened by the superb ensemble that brings them to life.
Rachel Bay Jones is wonderful as Evan’s mother, doing her best to raise him alone, while Michael Park and Jennifer Laura Thompson portray Connor’s parents sensitively and with such realism, dealing with their grief in different ways. As Connor’s sister, Laura Dreyfuss has the complex role of a girl trying to reconcile grief with the fact she didn’t really like her brother as a person, while Mike Faist portrays two versions of Connor, the person he was before his death and then who he is in Evan’s imagination, ensuring he remains an important part of the story. The show could have become much too sad and so the inclusion of Alana Beck (Kristolyn Lloyd) and Jared Kleinman (Will Roland) classmates of Evan, is vital as they bring a great amount of humour to the show (especially Jared, with Will Roland’s performance being one of my favourites).
Then of course, there is Ben Platt at its core. He was the reason I wanted to see the show and his performance exceeded all of my expectations. Having been involved with the character of Evan since the workshop stage of this musical, means that he is intrinsically linked with him and as you watch him on stage, you sometimes forget it is a performance. Every nuance of Evan’s character, from his shy awkward mannerisms to the tone of his voice is perfectly crafted and seem to come from deep inside Platt. It’s a heartbreaking, visceral and yet at times funny performance, that truly brings Evan to life before the audience and the sheer force of the emotion he gives on stage took my breath away.
I’m not a big musicals fan and so for me to truly connect with one requires not just a good story and strong characters, but also songs that really resonate with me and Dear Evan Hansen’s soundtrack is one of the few that I can listen to in its entirety. Every song has an emotional truth to it because each one fits the point in the story in which it falls, but also crucially feels natural coming from the character singing it in that moment. They never feel shoe-horned in for the sake of it and move the story forward without losing any of their emotional power. From Ben Platt’s superb opening in “Waving Through a Window”, to the playful fun of “Sincerely, Me”, to the uplifting anthem that is “You Will Be Found” (a song I’ve started playing when I need a pick-me-up), to “So Big/So Small”, it’s a truly beautiful collection of songs and I am not ashamed to admit that I shed tears through almost all of them (and it seemed everyone else in the Music Box Theatre did too).
I cannot recommend Dear Evan Hansen enough and if you are able to see this original cast, then don’t hesitate. I feel very lucky to be seeing it again in October and am so pleased that, in this case, all of the praise and superlatives I’d heard about it were fully justified. It’s a show that will definitely make you cry, but it’s also one that is giving people a sense of togetherness and the hope that everything will be alright, which is surely a message we all need to hear.
Dear Evan Hansen continues to run at the Music Box Theatre (239 West 45th Street). There is limited availability for the rest of 2017, but if you can treat yourself to the premium band, those tickets come up last minute, so keep checking Telecharge. A small number of standing room tickets are released each morning at the box office (the queue starts early) and there is also a daily online lottery for $40 rush tickets. For more information, visit the website here.
Theatre Review – Come From Away (Broadway, New York): an uplifting story of the good we are all capable of showing to others
“Because we come from everywhere, we all come from away.”
I recently spent a week in New York, specifically to see as much theatre as possible and one of the shows on my must-see list was Come From Away. I read about the show months ago when it was playing in Washington D.C and had been looking forward to finally seeing it for myself. It was therefore the first show I saw on this trip and was a wonderfully uplifting first night on Broadway.
For those unfamiliar with the show, Come From Away is set on 11th September 2001 and yet, despite all of us being so aware of the terrible events of that day, the story of the people brought to the stage in this new musical are very likely unknown to most of us. Set in Gander, which lies on the northeastern tip of North America, on the Canadian island of Newfoundland, we discover that amid the tragedy of 9/11, in this small remote community, the good we are all capable of was shining through, when 38 planes, carrying 6,579 passengers and crew had to land at Gander following the closure of U.S airspace.
Personally, I had never thought about the immediate ripple impact of the tragedy for other aircrafts in the sky that morning and I was stunned by how this small community and those of the surrounding area, pulled together to help the stranded passengers and crews, who effectively doubled their population within hours. From providing food, clothing, medicine, shelter and someone to talk to, it’s incredible to see just how much was done to welcome an international group of strangers to their island. Indeed, it carries more resonance at a time when refugees from around the world are facing greater barriers and hostility to settling elsewhere.
Through Come From Away, we see the lives of people thrown together, far away from home and without any of their possessions (bags remained on the planes, as these were all initially viewed as potential bombs), who over the next five days form friendships, relationships and a special bond between themselves, but also with the people of Gander, that continues to thrive to this day; there are reunions and Newfoundland is the only place outside the USA which has steel from the World Trade Centre.
Writers David Hein and Irene Sankoff interviewed thousands of people and have skilfully woven these stories together to create a musical that provides moments of joy, hilarity and fun, as well as its emotional moments. With so many stories available to them, the small cast of just 12 find themselves switching roles (and dialects) multiple times in order to provide us with a glimpse in to the forms of generosity that took place during those days in September. Whether playing the locals going about their daily lives until everything changed, to the passengers left cut off and unaware of what was happening (remember back then, fewer people had mobiles), to the captain of one of the planes, the strength of this ensemble is a huge asset of the show.
Each actor brings something special it and is likely to portray a character you will remember. There are too many to talk about them all, but I particularly enjoyed Chad Kimball and Caesar Samayoa’s lovely portrayal of a gay couple, whose relationship is gradually put under strain due to how 9/11 has affected them, Petrina Bromley’s vet, who took it upon herself to ensure that any animals being transported on the planes were cared for and Lee Macdougall and Sharon Wheatley whose characters include American Diane and Brit David, who were on the same plane and through such tragedy find love. There is also Q. Smith’s moving performance of a mother desperately waiting to her news of her son, a firefighter in New York, which felt even more emotional seeing the show in the heart of the city and Jenn Colella’s lovely performance as Captain Beverley Bass, a female pilot trying to comprehend that her beloved planes have been used to create such horror.
Such a story needed to be told with the right balance of entertainment and sensitivity and this is something the creators certainly achieve. There are moments of great humour intermingled with moments that have you shedding a tear and I particularly loved the smaller moments of human kindness, such as a local man who communicated to a non-English speaking couple not to be afraid through highlighting passages in their bible.
What also struck me about Come From Away was that it’s not your typical musical, which is something I loved about the show. It doesn’t have your typical musical structure. There aren’t show tunes between spoken scenes as such, but a series of stories that happen to be told through moments of spoken verse and singing. I’ve heard some people comment that the show needn’t have been a musical, but I disagree, as it is through the musical element that the emotional depth of these individuals and what they experienced can be truly told. Having the characters sing how they are feeling allows them to express to us emotions that would have not have come across as vividly through just words. It also means we are treated to the talent of the musical’s band, who through drum, fiddle and pipes bring Newfoundland’s signature style of music to life for a wider audience.
I thoroughly enjoyed Come From Away and would recommend it to anyone making a trip to NYC, especially those who perhaps don’t usually like musicals. Having won the Drama Desk Award for Best Musical this week, it is also a strong contender in this year’s Tony Awards and I for one think that there is no better time than now, to see a show that reminds us of the goodness in the world and how even in the face of tragedy, people will always come together to give each other strength and love.
Come From Away is currently running at the Gerald Schoenfeld Theatre (236 West 45th Street). Running Time: 1 hour 40 minutes. For more information and ticket availability, visit its website here. $38 rush tickets are available from the box office every morning.
Another play I managed to have time to see during my New York theatre holiday was the Broadway premiere of David Harrower’s play. I knew very little beforehand, but was an admirer of the work of both actors.
Set in a break room of a dreary office building, Una (Michelle Williams) has arrived at the workplace of Ray (Jeff Daniels) having not seen him for 15 years. However, this is not an ordinary meeting and it very quickly becomes clear that Ray was a former neighbour and that the two of them had a sexual relationship. What makes this more shocking is that, at the time, Ray was 40 and Una was only 12 years old. After being released from prison, Ray has moved away, changed his name and started again (the offence having been committed before the sex offenders register existed). Tonight however, Una is determined to make him face her and the consequences of his actions.
Over the course of 80 minutes, we watch as these two damaged people unleash their pent up emotions and the more they do, the more the lines blur regarding how they each view what happened and how they now feel about one another. It proves to be a thought-provoking experience for the audience.
The two actors are very good indeed. Michelle Williams, dressed in a floaty dress, designed to make her seem more childlike, plays Una’s jumble of emotions wonderfully. She is a complex character, whose childhood has understandably affected her whole life. She is like an unstable chemical element, which you expect to explode at any moment. In certain moments she speaks of how many men she’s slept with and yet in others she regresses to more childlike behavior, suggesting someone still on some emotional level trapped in the past. She wants to be in control of this meeting, stalking Ray around the room and seemingly enjoying just how scared he is of her and her unexpected reappearance in his life.
In a role he played during its original Off-Broadway run in 2007, Jeff Daniels takes his lead from her, as Ray struggles to try and explain the past from his perspective. Although I felt myself focusing on Williams’s performance, Daniels convincingly plays a man haunted by Una, who despite his larger frame at times appears small and weak in her presence. It’s not an easy role and it’s a testament to the actor that you sometimes forget that he is a criminal.
I’ve seen some comments as to whether this was love or abuse. I think this is too simplistic a question. For me, it is perhaps more unclear for Ray and Una from their perspectives than from mine as an audience member. There is clearly a connection between the two of them and they are still drawn to each other, which seems to excite and terrify them in equal measure. However I never questioned the inappropriateness of Ray’s actions. Una was a child, not even a teenager, but a pre-pubescent 12 year-old girl.
He spends a lot of time trying to make clear that he isn’t one of those men, that he doesn’t have those urges towards children and that he didn’t set out to have sex with a child. You are never truly sure if he really believes this or if it’s what he’s been telling himself ever since to move on. This uncertainty about Ray is brought home even more by the play’s powerfully unresolved conclusion, which in one moment made me shudder.
To add to the emotional complexity, as the play continues, you realise that Una’s anger stems more from a feeling of abandonment by Ray than from what he actually did. Ultimately the tragedy for these two people is had they met later in life, things could have been very different.
The strongest section of the play is when Una is reliving their last night together and its aftermath for her. The stage lighting changes gradually growing dimmer as she delves further in to those past events. So powerful is Williams here that you feel as if you are reliving it with her. You can see it in your mind’s eye and feel jolted when brought back to the present. It was hugely effective and the most powerful part of the production.
Certain aspects didn’t work for me. I grew to find the stilted, clipped dialogue of the early part of the play frustrating. Also the throwing around of rubbish by these two people at that point in proceedings didn’t, for me, achieve anything. All the verbal and sometimes physical sparring and outpouring of emotions beforehand were much more interesting.
Blackbird is not a comfortable play to watch by any means and although it didn’t impress me as much as other productions I saw in New York, it was certainly a powerful, thought-provoking and at times disturbing experience.
Blackbird continues its run at the Belasco Theatre (111. West 44th St.) until 11th June 2016. Running-time: 80 minutes approx. (no interval). $32 rush tickets are available each morning at the box office. For more information visit the website.
The Menier Chocolate Factory’s revival of The Color Purple was one of those productions that I tried but failed to see in London in 2013. Thankfully, my recent New York trip provided me with an opportunity to see it during its hugely successful Broadway transfer.
As someone who hasn’t read Alice Walker’s Pulitzer Prize-winning novel (a literary crime I know) or seen the 1985 film version, I wasn’t sure what to expect from this musical. Set in Georgia, beginning in 1909, the story centres on Celie, who we see grow up from a young girl abused by her step-father (resulting in two children who he then takes from her), passed off to a cruel older husband who treats her like his slave, to a strong, independent and confident business woman. Despite everything she endures, Celie remains strong; a woman you deeply admire and care about.
A strong actress was certainly needed to play her and to lead this production. Luckily for me, British actress Cynthia Erivo has travelled with the show to New York and she is absolutely stunning as Celie. An unknown actress to American audiences on her arrival there, she is certainly a force of the Broadway theatre stage now and all the praise she has received for the role over the years is justified.
Erivo conveys every emotion Celie experiences over her life perfectly and by the time she hits the final, powerful notes of her solo song I’m Here, the rapturous reception she received from the audience felt as though it had been building for the last couple of hours! It’s simply one of the finest stage performances I’ve seen and Erivo clearly gives it her heart and soul.
The production also contains some other fantastic performances. Danielle Brooks (from Netflix’s Orange Is The New Black) plays Sophia with so much humour and a fire that had my audience cheering her along all the way, with every “Hell no” she uttered. The wife of Harpo, son of Celie’s husband, she is the opposite of the young Celie; she will not be treated as a slave by her husband and is without a doubt the boss of their relationship. Kyle Scatliffe (who impressed me in 2013 in the Young Vic’s The Scottsboro Boys), is wonderful too as Harpo and despite their arguments, the bond of affection they share is never in doubt.
Jennifer Hudson was still in the cast playing Shug Avery during my visit and she did a fantastic job. Shug is a fascinating character; one who enters as Celie’s husband’s former lover. You don’t expect to like her and yet you do and the love between her and Celie grows. Ultimately it is Shug who helps Celie to forge a new life for herself, free from anyone else’s control. Heather Headley will, I’m sure, continue to make the role shine.
Although not every song is a memorable one, there were some musical numbers within this production that I thoroughly enjoyed and the soundtrack is worth the investment for I’m Here alone. Seeing The Color Purple in America also certainly added to my enjoyment and experience, with the audience’s responses and reactions far greater than I imagine they were in London. Their love of this production was something you could feel in the auditorium.
Powerful, moving, funny and inspiring, The Color Purple was a wonderful night at the theatre and is something not to be missed, particularly for Erivo’s performance, which will be one of the greats to remember.
The Color Purple continues its run at the Bernard B. Jacobs Theatre (242 West 45th St.) and is currently booking until 2nd October 2016. $35 rush tickets are available in the morning at the theatre each day. Running-time is 2 hours 20 minutes (including one interval). For more information, visit its website.
Another production I was keen to see during my trip to New York was the Broadway transfer of the Almeida Theatre’s musical version of American Psycho. I’d thoroughly enjoyed the show when it opened in London in 2013, seeing it a few times during its brief run. Having purchased the cast recording prior to my holiday, that production felt fresh in my memory on arriving at the Gerald Schoenfeld Theatre.
It was an entertaining afternoon and also fascinating to see the changes that had been made to the show since its original run. Some of these changes I very much welcomed, while I missed other elements that have been changed.
The most noticeable difference from the start was the change to the arrangement of some of Duncan Sheik’s songs, to the extent that they sounded quite different from when I’d last heard them, which threw me a little. Such changes relate to Opening, Selling Out, Killing Time and Not A Common Man. On an initial viewing my immediate view is that I prefer the original versions, but perhaps if I’d had a second opportunity to see the show maybe they would have grown on me. However my least favourite song of the production has also disappeared. I was not a fan of “Oh Sri Lanka” during Patrick Bateman’s birthday and felt it jarred the flow of the story. Its removal, with instead a great moment with Bateman “cutting” his birthday cake is funny and in-keeping with the show.
The staging and style of Rupert Goold’s American Psycho were two of the aspects I’d loved best and these continue to impress on Broadway. The show looks great, with Es Devlin’s set able to have a little more space than the Almeida could provide, which enables it to open out even more, especially in the second half, with the whole side of the stage opening in to separate doorways, through which various cast dressed in white and covered in blood appear as Bateman’s killing spree ratchets up. Whether a decision of the cast or creative team, the Broadway cast also spend much longer in their underwear! Indeed, Benjamin Walker’s Bateman spends all of the opening shirtless, while visiting the video store on route to work etc. (with a quick detour in to the aisles, to spray the audience with money from spray guns) and a good portion of the second half in just his underwear.
The depiction of the violence of Bateman’s secret life is also heightened in the visual imagery on display. There is much more blood on Broadway! One of the aspects of the original show I was dissatisfied with was how relatively tame Bateman’s acts seemed. It made him less dangerous. Here, we see him truly attack his rival Paul Owen, which thanks to a screen separating the stage from the front rows, means they can be more generous with the fake blood. This continues in the second half when during one of my favourite songs from the show the bodies literally pile up!
I also thought it was an interesting directorial decision to stage some of the scenes of the second half with Bateman just his underwear, covered in blood. He chats with Jean in his office and encounters Luis in Barney’s all while in this state, but they treat him as normal, giving the audience a sense that perhaps not everything in this world is real. For me, this plays in to the conclusion of the show very well indeed and is a great change.
From a cast perspective, personally there were some positives and some disappointments. One of my favourite characters from London was Jean, the kind and caring assistant in love with Bateman and the nicest character in the whole show. Jennifer Damiano plays her well, but vocally Cassandra Compton was much stronger in the role, with songs such as “A Girl Before” standing out. Damiano didn’t hit the top notes as strongly in my view, which did disappoint me. Susannah Fielding also seemed to find a greater to depth to the character of Evelyn than her Broadway counterpart Helene Yorke. I did particularly enjoy Theo Stockman’s portrayal of Bateman’s friend Tim Price. He was quite different from Jonathan Bailey and was a wonderful dry-humoured element of the production, in a role expanded on Broadway. Tim Price’s breakdown in Tunnel and subsequent disappearance felt odd to me and his reappearance towards the end distracting from the build up to the show’s conclusion. By cutting this plot point and having Tim remain a part of the show throughout was a much better decision.
A lot hangs on the performance of Patrick Bateman himself and Benjamin Walker is the Broadway production’s biggest asset. He is superb in the role. He brings humour, energy and crucially a predatory darkness at all the right points to the character. Walker is able to be both charming and dangerous and his audience interaction is always on point. It is a different Bateman from Matt Smith’s portrayal in London. I liked both in different ways. If not vocally brilliant, by the end of the show I always felt truly sorry for Smith’s Bateman; he seemed to be someone trapped in a miserable and ultimately fantasist life, in which his wedding felt more akin to a funeral for him. I didn’t have the same reaction to Walker in the role. He seemed more frustrated by his inability to fit in than Smith’s Bateman did and perhaps that meant the end didn’t seem quite as hopeless for Broadway’s Patrick Bateman.
I still really enjoyed American Psycho. Its design, direction, choreography and soundtrack as a whole (despite my preference for the London song arrangements) remain as thrilling and entertaining as they did two years ago. I worry that it may have been more at home in the intimate space of the Almeida and may not enjoy a long life on Broadway, but I hope I’m wrong and that New York audiences go along for the ride. I’m thrilled I was able to see both versions of this production, especially as on reflection they did seem like two quite different shows.
American Psycho continues its run at the Gerald Schoenfeld Theatre (236 West 45th St.). Running-time: 2 hours 40 minutes (including one interval). $37 rush tickets are available each day at the box office, with a limited amount of $45 tickets available via a digital lottery. For more information, visit its website. For anyone interested in listening to the London cast recording, you can stream it for free here. The original London production can also be viewed for free (by advance appointment only) at the V&A Museum’s Theatre & Performance Archive in London.
My trip to New York was arranged around certain theatre productions and one of those on my must-see list during my time there was this new production of Arthur Miller’s classic play.
There were many reasons I had to see it. Not only was it directed by Ivo Van Hove (whose excellent A View From The Bridge recently ended a Broadway run after transferring from London’s Young Vic), but the cast also contained some exciting names – Sophie Okonedo (currently excelling in BBC’s Undercover), Academy Award nominated Saoirse Ronan making her stage debut and then of course Ben Whishaw. He is one of my favourite actors on stage and screen and his casting as John Proctor was somewhat of a surprise, being very much off-type from the much more physical men who usually inhabit the role (such as Richard Armitage in 2014’s Old Vic production). I was very curious to see what his casting would bring to the character and therefore the play as a whole.
I certainly wasn’t disappointed by the production. Van Hove’s chosen setting is within a school room – school desks and chairs, strip light blocks on the ceiling, blackboard covering almost the entire length of the back wall. Although disliked by some and although the setting didn’t evoke the same eeriness as the Old Vic production, I thought the staging worked well, symbolising a space that usually serves a much more everyday purpose – as a place of truth and learning for the young. It seemed apt for a play in which blindness of the truth causes so much destruction and which can teach today’s society as valuable a lesson as its original 50’s audience.
Miller’s play is always a powerful experience, as the villagers of Salem become afraid of one another, casting accusations and assumptions about those around them. Written in 1953 as an analogy to the sweeping fear of Communists and anyone possibly associated with them in America, it’s as relevant today as it was then. The growing suspicion and hysteria about the supposed witches of The Crucible could just as easily be any group in society who are viewed with fear and mistrust by those around them, meaning the power of Miller’s writing is able to shine through to any audience.
Van Hove, together with the atmospheric lighting of Jan Versweyveld and Philip Glass’s powerful and eerie score has created a production of this play that captures the terrifying ability for a situation to spiral out of control with terrible consequences. I particularly liked Glass’s pulsing score, which became like an ever present heartbeat in the background, adding to and indeed increasing the tension of the scenes unfolding. I did however find the occasional dropping of the curtain to punctuate scenes a bit jarring, taking my mind out of the play for longer than I’d like.
The cast is also very good. I did have to adjust to the cast using a mix of accents (with English, American and Irish accents among the villagers), but this added to the sense of a diverse community in which there were those deemed very much to be outsiders; a theme which carried through the production.
John Proctor is indeed somewhat of an outsider. He and his wife live outside the town and he rarely attends church, something that has been noticed and judged by others. You have a sense of someone keeping himself private and at a distance. Whishaw is wonderful in this role. He may not have the physical presence which you associate with Proctor, but instead he is able to bring the more subtle, more introverted aspects of the character to the forefront. He is a quieter Proctor, clearly haunted by his past failings and trying to make amends to his wife. Sadly it is those failings, through his inappropriate affair with the young Abigail during his wife’s illness that acts as the catalyst for the events to come. Perhaps it is because I am more familiar with the play now, but I felt that it was much clearer in this production that Proctor had indeed had a relationship with Abigail and that this remains a torment and even a temptation for him.
Saoirse Ronan is a brilliant choice for Abigail. In her early scenes with Proctor you can see the seductive power she still has over him and through Ronan’s performance it could have been easy to forget the character is still a child were it not for the uniform she wears. She is also able to effortlessly move from the weak, scared young girl before the community, to the unnerving, unwavering, powerful controller of the schoolgirls. You have no trouble understanding why they would be afraid of her, so much so that they go along with the deception. As with Proctor, you have a sense of her as an outsider in Salem. Her fellow schoolgirl Mary Warren also becomes an outsider when she dares break from the others to speak the truth. I was particularly impressed by Tavi Gevinson as Mary. Her distress when pressured by Proctor to confess and fear of standing against Abigail, were conveyed very convincingly. The moments where you had the two girls sitting facing each other, Abigail staring her down, were unnerving.
Sophie Okonedo’s portrayal of Elizabeth Proctor is one I struggled with initially because of how emotionless she seems, but this is of course right for a woman dealing with her husband’s betrayal, creating a rather cold and uneasy relationship between them. It made her portrayal feel authentic and made your anger at the accusations she faces stronger. In the play’s later scenes she was brilliant and her final scenes with Whishaw, as each one, so physically damaged by their imprisonment (their entrances to the stage evoked gasps from the audience), finds a sense of peace and indeed a togetherness that they had clearly lost as a couple. It is a very still and quiet few moments between them, which I found quite moving.
Overall, this is an excellent production and the choice of Whishaw as Proctor made it different from others I’ve seen. He doesn’t yell, scream or career around the stage, but instead brings out the still, reflective man who, by the play’s conclusion, is able to make peace with his actions and his ultimate decision in the terrible choice between keeping his integrity or his life. It remains a haunting play, which resonates in a world still containing mistrust between various groups and I would highly recommend it to anyone visiting New York.
The Crucible continues its run at the Walter Kerr Theatre (218, W. 48th St.) until 17th July 2016. For more information, visit its website.
After a wonderful trip to New York, which involved a lot of theatre (no surprise there right?!), I wanted to start catching up with my reviews with one of the highlights of my trip – Eclipsed by Danai Gurira. Fresh from an Off-Braodway run and the only play on Broadway this season written by a woman, Eclipsed is a superb piece of writing, which takes you on an emotional journey that stays with you long after you’ve left the Golden Theatre.
Set during the Liberian Civil War, within a soldier’s compound, we glimpse an insight in to the lives of the women who are caught up in a war ravaging the region. There we find five women – two of whom are wives of the camp’s CO, one who was but has since left to become a soldier, unwilling to simply be used for sex. Then there is the youngest of the women (known as the Girl, who at the start, the wives are trying to hide from the CO) and finally Rita, the oldest of the women, who as a member of a charity organisation is desperately trying to bring an end to the fighting and give freedom to women such as these to strive for a new life. They have lost so much, separated from family, losing independence and dignity, all reinforced by the lack of any names. Other than Rita, they are simply Wife #1,2,3 and Girl.
I know it may sound rather heavy and there are points within Eclipsed when the events are indeed darker and quite upsetting to think about. However the brilliance of Gurira’s writing is that it shifts effortlessly from such darker moments to scenes which are full of fun, humour and indeed evoke a great deal of laughter from the audience. It is a play which covers the emotional spectrum in a way few productions are able to achieve.
Building from such a strong base, its female director Liesel Tommy utilises the genius of the material to the full, resulting in its pace never failing and the powerful nature of the story shining through.
Then there are the performances. All five actresses in Eclipsed are utterly superb. The fact that three of the five are nominated for Tony Awards comes as no surprise to me (and the other two are equally deserving).
Akosua Busia is very good as Rita, always trying to reach out to the women and make them see a place for themselves away from the compound. Her constant question of what their real names are is a away of trying to bring them back to themselves. Zainab Jah is a powerful force as the former wife-turned soldier, who has turned to fighting and violence to gain some control of her life again. You admire her desire not to be a victim, while fearing for whom the war is turning her in to. As Wife #1 Saycon Sengbloh is the matriarch of the hut (and indeed seems much older on stage than off). Her word goes, but she cares deeply for the other women and is someone you admire.
I was particularly impressed with Pascale Armand as Wife #3. Her ability to bring so much humour and lightness from what could be such a desperate life is quite touching and it is her sense of mischief and fun that results in most of the laughter, which balances Eclipsed so well.
Finally there is Lupita Nyong’o, the headline star and Academy Award-winning actress whose decision to take this role rather than one in a big Hollywood film speaks volumes. Looking so much younger on stage than on screen, she is absolutely incredible as the Girl. Through her you witness all the highs and lows of what life for young girls in this world must be like. She brings the character to life with so much passion and emotion that there were moments that brought me to tears. It’s a raw, visceral performance which is utterly believable and holds your attention until the stage goes dark.
I loved Eclipsed and it will almost certainly be one of the highlights of theatre this year for me. Its setting may be a very serious and sometimes heartbreaking one, with the traumas of the women something you cannot ignore. However, above all, it captured for me a sense of hope. No matter how desperate life may seem, there is always hope. Through this message Eclipsed proved to be a powerful, emotional and thrilling production and one I am so pleased I was able to see. If you are in New York and can only see one production whilst there, go to Eclipsed. It captures everything that theatre should be.
Eclipsed continues its limited run at the Golden Theatre (252 W. 45th St.) until 19th June 2016. For more information, visit its website.