He was MAGICAL!!! Strange, creepy and dear all at once, he never took it over the top into a level of camp that you'd disconnect with. Amazing performance and he.was.ROBBED!!!
I liked Masotti in Seminar. Loved her in The Seagull.
...and Julia Masotti every time she stepped on stage last season but especially in Seminar...nuanced and specific and so good
Yes..Tamara....Erin most definitely.....and bias aside Lorraine and Brie were showstoppers....I would throw in Oliver Jacob Pierce who got John Moored (ala A Steady Rain) by being the only one in Bad Jews without a nomination. It was a great performance and a tight ensemble...plus he is a good dude.
I think I missed it in "Who got robbed" because, in spite of the obvious list in front of me, it didn't seem possible that he wasn't nominated.
It may well have been my favorite performance of the year.
I wholeheartedly agree that the ommisiion of John was a glaring misstep.
Irene, you're right as can be. Especially about Tamara, though I omitted her as well. I only saw her in Seagull, which was a season highlight for me, and a real treat. But heard from others how good she was in VSM&S. It was just great to see her back on stage at Playhouse, period.
I wish I had been able to see more theater this year. Your thoughts are appreciated. I do think that, as objective as I can possibly be, Sarah Brown was amazing in Vanya. The fact that Tamara Scott's work in both rep shows was entirely ignored really bothers me.
I also think it was a great year for kids, and a category for them would have been nice.
They will never be able to please everyone. It is the nature of the beast and I get that. This is all hindsight that is fun for those of us that have no responsibility. I could never be a judge. Can't wait to see everyone, knock back a few, and enjoy the show.
Excellent article Chris
I staged managed both productions and there were changes made to both shows. We asked Harold for minor changes and he gave us them as soon as possible. And Harold came all the way from Louisiana to see a run and came to see a few performances. And it was great to have Teri in town to see run throughs and give us changes that we sought after.
It was a treat to see how these show developed from the first read through thorough the final performance. We also had a talk back for both shows and the audience have great feedback about both shows.
I, too, applaud this program. I just wonder if POTS has considered bringing in the playwright at some point in rehearsal to make relatively minor changes?
I don't know, Mayfield. I don't think it hurts developing a reputation for providing this level of physical support for new work-- which, as you know is always evolving. Both of the New Works winners were complete and competant enough to merit full productions. Neither one is quite ready for the big leagues yet, but I don't regret the time is spent with them. By making the program attractive, I hope POTS will attract talent and ambition. This is the fruit of year one. I'm impressed and intrigued.
Have not seen any of these new works this season, but am on board to see them all in the upcoming season. From what I've heard and heard, it sounds as though these new plays are not quite ready for a full production. I wonder if the playwright is allowed to come in early during the rehearsals and make changes, especially in cutting some of the verbose monologues that I've heard about in this show and some of the others....these playwrights are lucky to have first-rate actors, but I wonder if sometimes the actors are above the material, a hard lesson for many writers.
So glad you caught this one. Hope the audience numbers increase.
He did. Maybe not the original production, but an early one.
I hope to see Gospel at Colonus. Maybe I dreamed this, but didn't Morgan Freeman do this maybe a half-century ago?
Not judging the past, judging a current, ongoing production that still expects us to laugh at things that aren't funny. The social context and the decision to produce this material is every bit as important-- and perhaps more relevant-- than the production values. But a fair criticism of the criticism. As it happens, though, I disagree.
The production gets fairly strong marks in this review, but only after you've waded through all the concerns about the play's now-socially outdated worldview. And that's after a headline that gives the casual reader the impression this production is "a mess" (which the review doesn't actually say). The review of the production should lead, the rest is background for those who care. If we're going to judge the past by our current social mores (or one reviewer's personal preferences), then let the books, films and plays of the past burn!
I must agree with my dear friend Brunetto. As Tennessee Williams said, if it doesn't give me a stiffie, what good is theatre? I may have lost something in the translation.
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