I watch Theater Talk online here in Denver. Just wanted to say that the Harvey Fierstein interview was wonderful and I actually wished it could have gone on longer. His description of how John Doyle directs was quite interesting.
Greg Rice
Denver, CO
Sunday, April 27, 2008
Sunday, April 20, 2008
this play has never been about race
Susan--
While I agree that John Lahr's interpretation of the mendacity in "Cat" as specifically that present in a Southern society in denial about it's racial past adds depth to the meaning of the play, I fear that it simultaneously subtracts breadth. To narrow the focus of the play to one specific type of society lessens the universality of the message. One can be disgusted with the superficiality of society without bringing race into it. For me, this play has never been about race, so the casting makes no difference in terms of the impact of the message. Perhaps the thought never occurred to me because I am not a Southerner, but that's precisely my point. Is John saying that I can't apply the message to my own life because the mendacious society I deal with doesn't have racial overtones? That defies the whole purpose of art which John so clearly articulated in the show: externalizing internal absence so that others might recognize the same absence in themselves and feel less alone.
Feel free to post these comments. Thanks for asking!
Carol Hampton,
Theater Devotee and Loyal Viewer
While I agree that John Lahr's interpretation of the mendacity in "Cat" as specifically that present in a Southern society in denial about it's racial past adds depth to the meaning of the play, I fear that it simultaneously subtracts breadth. To narrow the focus of the play to one specific type of society lessens the universality of the message. One can be disgusted with the superficiality of society without bringing race into it. For me, this play has never been about race, so the casting makes no difference in terms of the impact of the message. Perhaps the thought never occurred to me because I am not a Southerner, but that's precisely my point. Is John saying that I can't apply the message to my own life because the mendacious society I deal with doesn't have racial overtones? That defies the whole purpose of art which John so clearly articulated in the show: externalizing internal absence so that others might recognize the same absence in themselves and feel less alone.
Feel free to post these comments. Thanks for asking!
Carol Hampton,
Theater Devotee and Loyal Viewer
CAT Show: "Gutsy and Informative "
I thought it was gutsy and informative. Ms. Ashley was downright passionate and instructive about her southern knowlege. When she shed light on how very close families down south were, Lahr's quiet response also took on more meaning. Ashley must have been a devine Maggie the Cat !
However, James Earl Jones was a brillant big daddy! And he was almost going to become a Broadway supreme court justice ! His performance in Othello decades ago was another show stopper !
Theater Talk 's discussion on Cat on a Hot Tin Roof was just that. Hot ! It is fun to watch both guests walk down the aisle in our imaginations and go to one of Williams very best ! The heat was up a little bit as it was more intimate with Michael's eyes wide open to the guests too !
- Catherine Gropper, playwright
Saturday, April 19, 2008
Do Not Resuscitate? Or, What Brings a Revival to Life?
This week on Theater Talk, actress Elizabeth Ashley (nominated for a Tony for her performance as Maggie in the '74 revival) and The New Yorker critic John Lahr discuss playwright Tennessee Williams and what led him to create the classic American drama, Cat on a Hot Tin Roof. They also debate the relevance of doing this fifties southern-family drama with an all-Black cast (including James Earl Jones, Terrence Howard and Phylica Rashad).
You can see a preview here. Additionally, on CUNY TV (4/19 @ 8:30, 4/20 @ 12:30, and 4/21 @ 7:30, 1:30, and 7:30), you can see Harvey Fierstein discussing his new musical, A Catered Affair, which just opened on Broadway.
Let's focus, for a moment then, on a revivals. For instance, what specifically do you look for in a revival? Do you want to see modernizations, like the current Macbeth, or are you drawn to shows with star power, like Gypsy's Patti LuPone, or sold by classic archival revivals, like Lincoln Center's South Pacific? And how much is too much in a revival -- that is, at what point does a stylistic choice, as with Cat on a Hot Tin Roof's all-Black cast, run the risk of altering the message of the play? And who should be making that call? Some playwrights, like Beckett or Albee, have fiercely guarded the direction of their work, but how much leeway should a director have? (For instance, Jenny Schwartz of God's Ear, writes: "While I am incredibly exacting and precise with regard to the sounds of the words, I leave the play's physical world entirely up to the director and designers. So, ironically, because I was trained as a director, I am extremely hands-off. I enjoy my role as the playwright and want the director to bring as much of herself to the production as I have."
Remember: this is not a one-man show; we welcome your thoughts in the comment box below and your votes on the poll to the right. (Results from last week: "What's the most you've ever paid for a theater ticket?" The majority of voters, 12, have never spent over $100 on a show [five have spent at least $400, and one has spent over $1000), but only one voter has gone with $20 tickets only.)
Saturday, April 12, 2008
Sillerman Sounds Off on What Some Call "Silly" Prices
If you tune in to Theater Talk this weekend (you can still catch the episode on CUNY TV, Channel 75, Sat. @ 8:30 PM, Sun. @ 12:30 PM, Mon. @ 7:30 AM, 1:30 PM, and 7:30 PM), then you'll have the chance to hear ROBERT F.X. SILLERMAN, the Executive Producer of Mel Brooks's YOUNG FRANKENSTEIN, discussing the new musical and the controversial ticket pricing (which has since been abolished, with all ticket prices now below $120).
There's a new poll up on the right side of the page that asks "What's the most you've ever spent on tickets to the theater?" but we'd love to have some comments in the box below -- the question we're asking is "How do you feel about the current cost of tickets?"
Consider also, in a recent issue of American Theater magazine, that critic Eric Bentley asked whether or not (for some shows) critics should operate economically instead of critically: that is, "What the Broadway theater needs is a consumer guide. That's what the so-called critics should provide. Tickets, as everyone knows, are very expensive. Before you spend that money, even though you're rich, you want a little guidance as to whether it's going to be well spent."
Is that what the audience really wants, however? Or what it needs?
- Aaron Riccio
Associate Producer, THEATER TALK
Editor, Theater Talk's New Theater Corps
There's a new poll up on the right side of the page that asks "What's the most you've ever spent on tickets to the theater?" but we'd love to have some comments in the box below -- the question we're asking is "How do you feel about the current cost of tickets?"
Consider also, in a recent issue of American Theater magazine, that critic Eric Bentley asked whether or not (for some shows) critics should operate economically instead of critically: that is, "What the Broadway theater needs is a consumer guide. That's what the so-called critics should provide. Tickets, as everyone knows, are very expensive. Before you spend that money, even though you're rich, you want a little guidance as to whether it's going to be well spent."
Is that what the audience really wants, however? Or what it needs?
- Aaron Riccio
Associate Producer, THEATER TALK
Editor, Theater Talk's New Theater Corps
Monday, April 07, 2008
Theater TALK -- Not Theater Listen
For those of you who are long-time viewers, or even those of you just tuning in through this mailbag of reader responses to the show, part of the fun of Theater Talk is in the live discussion that gets behind creative choices, artistic decisions, and the behind-the-scenes reality of the theater. For that reason, our goal is to improve this mail blog, opening up as much as we can to you, the reader and viewer, who wants to talk back.
Every Friday, at midnight, we'll be posting a new poll and 'discussion' topic -- and check back throughout the week for new letters, which you can submit by e-mailing newtheatercorps@gmail.com. You can also talk back directly through the comments so as to keep the discussion going; you can even do so anonymously -- whatever it takes to keep Theater Talking. We hope, in the coming weeks and months, to become a focused center for hot topic issues, where the community can respond to artists, the industry, and critics alike. Additionally, you can also check out Theater Talk's New Theater Corps, our growing site of young critics, who are at this minute probably scouring the downtown scene for new and exciting theater.
Have other ideas, suggestions, comments, or complaints? Feel free to write us: we're interested in what you have to say.
Every Friday, at midnight, we'll be posting a new poll and 'discussion' topic -- and check back throughout the week for new letters, which you can submit by e-mailing newtheatercorps@gmail.com. You can also talk back directly through the comments so as to keep the discussion going; you can even do so anonymously -- whatever it takes to keep Theater Talking. We hope, in the coming weeks and months, to become a focused center for hot topic issues, where the community can respond to artists, the industry, and critics alike. Additionally, you can also check out Theater Talk's New Theater Corps, our growing site of young critics, who are at this minute probably scouring the downtown scene for new and exciting theater.
Have other ideas, suggestions, comments, or complaints? Feel free to write us: we're interested in what you have to say.
Thursday, April 03, 2008
Mad as a Cat on a Hot Tin Roof
I am writing to express my outrage at what I heard Elizabeth Ashley say on your show concerning how she prepared to play Maggie the Cat in Cat On a Hot Tin Roof. She explained that she starved three cats for two weeks to observe their behavior.
At first I thought she was kidding, but apparently not. The two moderators of the show thought this was funny. I was appalled. Need I even explain why? What other living, sentient beings would Ms. Ashley condone torturing to prepare for a role--children, old people?
No one could possibly sanction animal cruelty for art's sake, be it film, painting, or acting. As a singer and some time actor myself, I believe her comments are insulting to the traditions of the theater.
Even more upsetting than Ms Ashley's stupid and heartless behavior is the apparent acquiescence of the hosts of your show. I urge you to somehow address this huge mistake. I leave it up to you to figure out how.
- Burton A. Borovetz
At first I thought she was kidding, but apparently not. The two moderators of the show thought this was funny. I was appalled. Need I even explain why? What other living, sentient beings would Ms. Ashley condone torturing to prepare for a role--children, old people?
No one could possibly sanction animal cruelty for art's sake, be it film, painting, or acting. As a singer and some time actor myself, I believe her comments are insulting to the traditions of the theater.
Even more upsetting than Ms Ashley's stupid and heartless behavior is the apparent acquiescence of the hosts of your show. I urge you to somehow address this huge mistake. I leave it up to you to figure out how.
- Burton A. Borovetz
Wednesday, April 02, 2008
Roundabout with Roundabout
[1/12] Dear Susan and Michael,
I became a Roundabout subscriber the year it produced 1776, one of my all-time favorite shows, and have never been sorry I did. I have several other theatre subscriptions (as well as opera and Philharmonic series), see as many other shows on Broadway, off and off-off Broadway (as far off as the Flea) as I can afford - and don't regard my taste as especially "middling." But I am still learning. And the Roundabout is part of my theatre education.
One of the pleasures of my subscription has been the Roundabout's Pels Theatre productions over the years. Those plays are almost always new, carefully produced and performed and worth seeing. Have I loved every one? No. Am I glad I saw them? You bet. One learns to listen to each playwright for what he or she is saying, even if one may not like the play much. Next, I'll be seeing Speech and Debate in the new black box theatre below the present Pels Theatre. Looking forward to that.
My principal regret is that Assassins didn't have a longer run. It was brilliant.
And I have welcomed the chance to see classics, some that I'd never seen and some that it is a pleasure to revisit. The quality of the casts has usually been superior. Perhaps one of the reasons why so many extraordinary actors come to Roundabout productions is that they can commit for their limited runs. Seeing the Redgrave sisters together was worth that year's subscription. Furthermore, Susan, I got some good laughs at Old Acquaintance, light fare though it was.
Some comments on your interview of Todd Haims on January 12, 2008:
1) The Roundabout was established to present classics - look at its name!
2) It's OK even for a "nonprofit" to have successful productions. How inane to think otherwise.
3) Haimes used your "attack" opening and Michael's snarky questioning effectively as a kickoff to describe the range of Roundabout theatrical and educational activities, I thought.
4) Why do you tend to fawn over Brits and attack Americans? I've always wondered ...
But I'll continue to watch your show. It's usually interesting.
Sincerely,
Sarah S.
---------------------------------------
[1/12] Susan Haskins responds:
Thank you for writing.
I though Todd was very articulate and dealt with our criticism beautifully. I only pride us for having edited the show to make that abundantly clear.
Do I - Susan - fawn over Brits v Americans? I try not to (despite that inherent disposition in almost anyone of my generation). Actually, I just saw The 39 Steps tonight. I liked it very very much, but at the same time I found myself regretting that many idigenous NYC companies, probably doing equally innovative work, can't get as easily "discovered' here sometimes, as those from London.
Thanks so much for watching our program and taking the time to write.
All the best,
Susan Haskins
PS. As for Old Aquaintance, I suppose it had humorous moments. It just struck me as such a waste of money on a second-rate, pedestrian exercise in playwriting. I thought van Druten had really "phoned" that one in, way back when.
-------------------------
1/13 Sarah S. replies
Dear Ms. Haskins:
Yes, the program was well edited well to make Todd Haimes' responses the focus. I just felt that some of Michael's questions were unnecessary put-downs. (But that's often true - I do shout at him fairly often because he interrupts speakers in the middle of thoughts.)
And no, Susan, you don't fawn over Brits! Sorry for the lack of clarity. In fact, your questions tend to bring out the most in guests that we non-theatre-insiders are interested to hear. And thank you for that.
Your point about the Roundabout's importing two British shows this season is well taken. It surprised me, too, because that has not been the custom. The London production of [Sunday in the Park with George] did get great reviews from friends who saw it there and, I suppose, if Steve Sondheim wanted it done at the Roundabout, that was the deciding vote. They do well by his shows - and where else would we have seen Pacific Overtures reprised?
I just like seeing Margaret Colin onstage - that's probably why I enjoyed Old Acquaintance. It wasn't a great play, I agree.
Keep up the good work. Your show is set for automatic series recording and "keep" - I always look forward to seeing it.
Thanks,
Sarah S.
I became a Roundabout subscriber the year it produced 1776, one of my all-time favorite shows, and have never been sorry I did. I have several other theatre subscriptions (as well as opera and Philharmonic series), see as many other shows on Broadway, off and off-off Broadway (as far off as the Flea) as I can afford - and don't regard my taste as especially "middling." But I am still learning. And the Roundabout is part of my theatre education.
One of the pleasures of my subscription has been the Roundabout's Pels Theatre productions over the years. Those plays are almost always new, carefully produced and performed and worth seeing. Have I loved every one? No. Am I glad I saw them? You bet. One learns to listen to each playwright for what he or she is saying, even if one may not like the play much. Next, I'll be seeing Speech and Debate in the new black box theatre below the present Pels Theatre. Looking forward to that.
My principal regret is that Assassins didn't have a longer run. It was brilliant.
And I have welcomed the chance to see classics, some that I'd never seen and some that it is a pleasure to revisit. The quality of the casts has usually been superior. Perhaps one of the reasons why so many extraordinary actors come to Roundabout productions is that they can commit for their limited runs. Seeing the Redgrave sisters together was worth that year's subscription. Furthermore, Susan, I got some good laughs at Old Acquaintance, light fare though it was.
Some comments on your interview of Todd Haims on January 12, 2008:
1) The Roundabout was established to present classics - look at its name!
2) It's OK even for a "nonprofit" to have successful productions. How inane to think otherwise.
3) Haimes used your "attack" opening and Michael's snarky questioning effectively as a kickoff to describe the range of Roundabout theatrical and educational activities, I thought.
4) Why do you tend to fawn over Brits and attack Americans? I've always wondered ...
But I'll continue to watch your show. It's usually interesting.
Sincerely,
Sarah S.
---------------------------------------
[1/12] Susan Haskins responds:
Thank you for writing.
I though Todd was very articulate and dealt with our criticism beautifully. I only pride us for having edited the show to make that abundantly clear.
Do I - Susan - fawn over Brits v Americans? I try not to (despite that inherent disposition in almost anyone of my generation). Actually, I just saw The 39 Steps tonight. I liked it very very much, but at the same time I found myself regretting that many idigenous NYC companies, probably doing equally innovative work, can't get as easily "discovered' here sometimes, as those from London.
Thanks so much for watching our program and taking the time to write.
All the best,
Susan Haskins
PS. As for Old Aquaintance, I suppose it had humorous moments. It just struck me as such a waste of money on a second-rate, pedestrian exercise in playwriting. I thought van Druten had really "phoned" that one in, way back when.
-------------------------
1/13 Sarah S. replies
Dear Ms. Haskins:
Yes, the program was well edited well to make Todd Haimes' responses the focus. I just felt that some of Michael's questions were unnecessary put-downs. (But that's often true - I do shout at him fairly often because he interrupts speakers in the middle of thoughts.)
And no, Susan, you don't fawn over Brits! Sorry for the lack of clarity. In fact, your questions tend to bring out the most in guests that we non-theatre-insiders are interested to hear. And thank you for that.
Your point about the Roundabout's importing two British shows this season is well taken. It surprised me, too, because that has not been the custom. The London production of [Sunday in the Park with George] did get great reviews from friends who saw it there and, I suppose, if Steve Sondheim wanted it done at the Roundabout, that was the deciding vote. They do well by his shows - and where else would we have seen Pacific Overtures reprised?
I just like seeing Margaret Colin onstage - that's probably why I enjoyed Old Acquaintance. It wasn't a great play, I agree.
Keep up the good work. Your show is set for automatic series recording and "keep" - I always look forward to seeing it.
Thanks,
Sarah S.
Tuesday, April 01, 2008
Praising November, Panning August?
[Feb. 24]
Susan, in the span of minutes you praised November as a great comedy (almost no one agrees with this) and then criticized August: Osage County for being "like a soap opera everyone can see at home for free."
Are you sure you saw these shows? You are way, way off base here. There are times I feel you serve a purpose on the show to give the "everyman" viewpoint, but this is really ridiculous.
Gary Jaffe
New York, NY
-----------------------------------------
[Feb. 25] Susan Haskins responds:
I did see both shows, and while I don't believe I called November a "great" comedy (I said I enjoyed it - which is not quite the same thing - and loved Nathan Lane), I did perceive August/Osage pretty much as you say.
Am I on the show to be everywoman? I do like to think my perceptions are more astute than that ... but whatever, there I am (and I produce Theater Talk, which is not unrelated),
I did not see August/Osage as a superior play-- though I wasn't bored and appreciated the acting. Also, I didn't so much see it as a soap opera. It was more like a "Lifetime" movie (which is a very influential populist form of the last decade or so . . . that everywoman is aware of, so maybe you are right about me).
Thank you so much for writing. We are delighted to hear your views!
Best,
Susan
---------------------------
[Feb. 25] Gary writes:
Dear Susan,
Upon further reflection -- and I'm not in any way trying to be rude . . . But, I find that the problem with Theater Talk is that you and Michael tend to engage in what I'd call "personal opinion and taste" rather than intellectual theater critique. So, your audience is often left with lots of giggling and snide comments from the two of you, but very little actual theatrical criticism. I feel that ON STAGE on NY1 does a much better job of getting the information to the NY theater audience.
This is what bothered me about your "takes" on NOVEMBER and AUGUST: OSAGE COUNTY -- it was just your "personal reaction" to these pieces, and did not seem founded in any deep knowledge of theater history.
Best,
Gary Jaffe
Susan, in the span of minutes you praised November as a great comedy (almost no one agrees with this) and then criticized August: Osage County for being "like a soap opera everyone can see at home for free."
Are you sure you saw these shows? You are way, way off base here. There are times I feel you serve a purpose on the show to give the "everyman" viewpoint, but this is really ridiculous.
Gary Jaffe
New York, NY
-----------------------------------------
[Feb. 25] Susan Haskins responds:
I did see both shows, and while I don't believe I called November a "great" comedy (I said I enjoyed it - which is not quite the same thing - and loved Nathan Lane), I did perceive August/Osage pretty much as you say.
Am I on the show to be everywoman? I do like to think my perceptions are more astute than that ... but whatever, there I am (and I produce Theater Talk, which is not unrelated),
I did not see August/Osage as a superior play-- though I wasn't bored and appreciated the acting. Also, I didn't so much see it as a soap opera. It was more like a "Lifetime" movie (which is a very influential populist form of the last decade or so . . . that everywoman is aware of, so maybe you are right about me).
Thank you so much for writing. We are delighted to hear your views!
Best,
Susan
---------------------------
[Feb. 25] Gary writes:
Dear Susan,
Upon further reflection -- and I'm not in any way trying to be rude . . . But, I find that the problem with Theater Talk is that you and Michael tend to engage in what I'd call "personal opinion and taste" rather than intellectual theater critique. So, your audience is often left with lots of giggling and snide comments from the two of you, but very little actual theatrical criticism. I feel that ON STAGE on NY1 does a much better job of getting the information to the NY theater audience.
This is what bothered me about your "takes" on NOVEMBER and AUGUST: OSAGE COUNTY -- it was just your "personal reaction" to these pieces, and did not seem founded in any deep knowledge of theater history.
Best,
Gary Jaffe
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