REVIEW: Broadway says hello and goodbye to some great productions in 2016
NEW YORK — Living in a post-Hamilton era is different than living in a pre-Hamilton era. The landmark musical has been on Broadway for more than a year, but its influence continues to shape the New York theater scene. Many new and diverse offerings came to Midtown Manhattan in 2016, and playwrights, actors and producers took risks on material that deserved to be seen.
Other productions, like Fun Home, broke barriers, bid farewell to the Rialto and headed out on national tours.
Here is a sampling of what theatergoers had the opportunity to see in 2016. This is not a best-of list, and if the show is still running on Broadway, the production will receive a separate review.
Blackbird — David Harrower’s drama was truly a harrowing experience. The two-hander starred Michelle Williams and Jeff Daniels, and dealt with issues of memories, sexual abuse and obsession. Running only 90 minutes, Blackbird left audiences at the Belasco Theatre speechless. There was little humor in the piece, and the subject matter was shocking and uncomfortable. However, the acting from Williams and Daniels was first rate (Daniels was reprising the role from an off-Broadway engagement). Kudos to director Joe Mantello for keeping the evening focused, streamlined and moving along with barely a chance to take a breath.
Bright Star — It’s a shame that amidst the glitz and glamor of other Broadway musicals, this show from Steve Martin (music, book and story) and Edie Brickell (music, lyrics and story) had such a short run. The story focused on Carmen Cusack’s portrayal of literary editor Alice Murphy whose story is told in the 1920s and 1940s. The structure of the piece was original, jumping back and forth between the two timeframes, and Cusack’s anchoring performance and Martin and Brickell’s songs kept the emotion high, the movement fast-paced and the beauty just about everywhere. This one, which played the Cort Theatre, will be missed.
The Crucible — I drink liberally from the Ivo van Hove theatrical cup. This risk-taking interpreter of classic texts wowed audiences with Arthur Miller’s A View From the Bridge, and he matched his own brilliance with Miller’s The Crucible. It didn’t hurt that he had a stellar cast fronted by Ben Whishaw as John Proctor, Sophie Okonedo as Elizabeth Proctor, Ciarán Hinds as Deputy Gov. Danforth and Saoirse Ronan as Abigail Williams. The classic tale of presumed witchcraft in Salem, Massachusetts, has so many 20th and 21st century lessons to be learned, and van Hove’s emphasis on the play’s dialogue, condemnations and pressure-cooker drama served the production well.
Eclipsed — One of the best new plays of any Broadway season, let alone 2016, was Eclipsed. Danai Gurira is an important theatrical voice, and her play about the civil war in Liberia was touching and heartbreaking. I so appreciate that it was told from the perspective of a group of women dealing with the daily realities of the bloodshed and lost opportunities. Lupita Nyong’o was marvelous on the John Golden Theatre stage, coupling energy with frailty amidst a world that was crumbling around her. She was helped by the supporting cast of Saycon Sengbloh, Akosua Busia, Zainab Jah and Pascale Armand. Hopefully this production welcomes many more plays by Gurira and many more directing engagements by Liesl Tommy.
The Father — Frank Langella can do no wrong on Broadway. The living legend (someone who deserves that title) was powerful and stirring in Florian Zeller’s new drama, translated by Christopher Hampton. The Manhattan Theatre Club mounted a wise and emotional play about an octogenarian starting to lose his memory, and Langella deservedly received top accolades for his performance.
Fully Committed — Becky Mode’s restaurant-reservation comedy, which played the Lyceum Theatre, is more of a star vehicle than an actual play. There’s not much of a story in this one act, but Modern Family’s Jesse Tyler Ferguson was able to hit each and every one-liner to the back row of the theater. As a purely comedic exercise, the production worked because Jason Moore’s direction kept the laughs flying by without hesitation. Unfortunately, as a top-dollar evening on Broadway, the laughs were the only takeaway.
Fun Home — Although Fun Home did not open in 2016 (it closed after a successful, Tony-winning run), the memory of this one still lingers. The production, based on the graphic novel by Alison Bechdel, follows the main character through three stages in her life: as a child living in a funeral home, as a college student deciding to come out to her parents and as a graphic novelist trying to piece together her life. Jeanine Tesori’s score and Lisa Kron’s book and lyrics were phenomenally moving and introspective. Sam Gold’s direction utilized the unique space of the Circle in the Square to full effect. This is another one that will be missed.
The King and I — Bartlett Sher’s production of The King and I did not open in 2016, but it finally called it a day after a successful run at the Vivian Beaumont Theatre. The classic musical by Richard Rodgers (music) and Oscar Hammerstein II (book and lyrics) was given a top-notch revival starring Kelli O’Hara as Anna Leonowens and Ken Watanabe as the king of Siam. Add this one to the many classic musicals that Sher has breathed new life into.
Long Day’s Journey Into Night — The production of the year was this Roundabout Theatre Company revival of the Eugene O’Neill classic family drama. The cast, featuring Jessica Lange and Gabriel Byrne, was unanimously excellent. Ditto for Michael Shannon and John Gallagher Jr. Jonathan Kent was able to elicit some of the best performances in recent memory. The Tyrones may never be the same again.
She Loves Me — The candy-coated comedy of this 1960s revival was a little too sugary at times, but there’s no denying that Laura Benanti and Zachary Levi were charming as competing and loving perfume sellers. The innocence and madcap comedy of the piece were appreciated, although it was tough to fully support the material. Joe Masteroff’s book, Sheldon Harnick’s lyrics and Jerry Bock’s music were sweet, simple and sadly forgettable.
By John Soltes / Publisher / John@HollywoodSoapbox.com
