Phedre in New York City - Update

I posted earlier about London's National Theatre experiment of broadcasting plays from their season to theaters in the US. Their first play. "Phedre", by Racine, was shown earlier this month and again last night on the East Side at the City Cinemas. For me, this was a success. I was riveted by the performance of Helen Mirren as Phedre, a queen who has fallen in love with her stepson, Hippolytus, and the carnage that ensues as a result of this passion.

The film opened with Jeremy Irons interviewing director Nicholas Hytner on the terrace of the National Theatre about this project and the four plays that they plan to present. Then we watched designer Bob Crowley explain the concept behind the setting, as well as another man, perhaps the dramaturg? (sorry, can't remember) also offering more valuable pre-show information. I was glad that they kept this short, and presented the play, two hours without intermission (or interval, as they say across the pond) without too much scholarly background. It's such an elemental story that is accessible and quite straightforward; no previous knowledge of Greek Mythology is required in order to enjoy the performance. The translation that they used was by Ted Hughes, and the word imagery was quite beautiful and clearly understandable.

The setting is Ancient and Timeless and textured - a terrace of a palace on the sea, full of angles, textures and heat. There is a sense of air, sea, sky and stone. The cast of 12 play on this one set, during which the light changes gradually and informs much of the play's mood. The costumes, I assume also by Bob Crowley, but supervised by Christine Rowland, with whom I had the pleasure of working on Chitty Chitty Bang Bang here in New York, were a lovely combination of contemporary military (for the men) and timeless elegance. Dame Helen looked sensational: photos are here. Her costumes were simple and elegant, two costumes with additions of a veil and coat in dove grey and plum, with regal jewelry that gradually disappeared as the action unfolded. The clothes were striking without drawing too much attention, quiet and correct. Not seeing the entire set, it's difficult to review it, but there was the sense of oppression from the heavy stone, loss and age from the dead leaves scattered across the stage, and possible escape from it all via the sea and sky. I was happy with most of the performances and the direction, and can't wait for the next chance to see a production from the National in the Fall.

Phedre in New York City

Production photos by Catherine Ashmore, from the National Theatre's website.

I was reading an article in the New York Times about London Theatre today, and realized that if I didn't act fast, I might miss out on a live simulcast from the National Theatre of Racine's Phedre at various movie theatres around the country. What is noteworthy is that it's starring Helen Mirren, Margaret Tyzack and Dominic Cooper, and directed by Nicholas Hytner. They're using a version by Ted Hughes this time, and it's designed by Bob Crowley, whose work I am always eager to see.

I started at this link, Broadwayworld, and though performances are sold out at The Film Society at Lincoln Center, I managed to snag a ticket at City Cinemas on the East Side for next week. Theatremania has a link to the venues here.

Here's the National Theatre's Page for US venues. That's a lotta links, but maybe you want to read up a bit on what the fuss is all about.

I never made it to any of the Metropolitan Opera House simulcasts last year, so I damned well made sure I have a ticket to this one, if nothing huge comes up that prevents my actually going.

I last read Phedre in college, when I was on a tear to read as many of the great plays as possible in case I had to design one. There was a legendary production of this play by Philip Prowse, starring Glenda Jackson in the 70's that I wish I'd seen - totally different in look from this production. I remember poring over the pictures in a theatrical magazine - I used to buy theatre and opera magazines from the Drama Book Shop of international productions to keep up with design sensibilities around the world.

Check out the NT's link to see if this production will be available near you!

Go Blithe on Broadway

Last night I saw a preview of "Blithe Spirit" on Broadway, which opens this weekend. It's a rare chance to see a Noel Coward play on Broadway, and possibly the last chance to see Angela Lansbury in a major role. The play was written in 1941 and takes place in an English village, in the home of a comfortably well-to-do writer, Charles Condomine, and his second wife, Ruth. They are planning an evening's entertainment and have invited a local couple and a local medium, Madame Arcati, who will conduct a seance after dinner. The writer is doing research for a novel and hopes that the evening will yield interesting information that he can use. Trouble ensues when the medium conjures the spirit of his dead first wife, Elvira, who wreaks havoc on his home and tries to come between him and his living wife. The medium is called back in to try to send the dead wife back to the spirit world, with interesting results.

Apparently, Paula Roberts, a well-known psychic, was hired to advise the production.



The writer is played by the fabulous Rupert Everett, a longtime favorite of mine. Rupert is now 50 years old, and looks amazing, and is the epitome of classic elegance onstage. He moves beautifully, with grace and naturalness, draping himself all over the furniture, long legs crossed, completely at ease and looking INCREDIBLE in his marvelous wardrobe, designed by Martin Pakledinaz. I first fell under Rupert's spell in the film "Another Country" which was quite some time ago. He should be a bigger star and hopefully will become the toast of Broadway. He appears completely comfortable in this milieu and has appeared in two Coward plays previously in the UK.

Angela Lansbury plays Madame Arcati, the medium. I've seenher in plays and watched on the screen many of her performances over the years; she's now in her eighties and doing an 8-show-a-week schedule. She plays this role quietly, though it's faintly reminiscent of her turn as Salome Otterbourne in Death on the Nile, one of my favorite films EVER, as a drunken writer of romance novels. I was expecting more camp in this vein, but her playing was dignified, yet physical, as she often danced across the stage.

Christine Ebersole plays Elvira and it's a tough role, but she held her own. I would have liked to see her a bit freer, ethereal yet earthly as she was clearly a fun-loving woman and a contrast to Ruth's groundedness. There should definitely be more bewitching and sensual danger to Elvira, and I didn't sense that. I did enjoy her singing period songs during the clever transitions.

Jayne Atkinson played Ruth, Charles current wife. I liked her and enjoyed watching how she dealt with Elvira's presence in her life. This character for me is the most realized of the four.

Simon Jones and Deborah Rush round out the cast, and Susan Louise O'Connor, as the maid, is allowed a great deal of physical comedy and nearly steals the show. It's directed by Michael Blakemore and is at the Shubert Theater on Broadway.

Here's the website for the show. Show photos are here.