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About Just out. (Portland, OR) 1983-2013 | View Entire Issue (June 20, 2003)
tune 20,2003 Peters, who delivers the most here she gives a courageous moving and fearless portrayal 3 performance that is often of this character I’ve seen to unwatchable in its intensi ty— and yet utterly mesmeriz date. While the entire cast is ing. This is the most crazed very fine and utterly commit Mary Tyrone in history—one ted to Mendes’ heart of dark ness vision, it is Peters who minute a pathetic, cringing, trembling wreck, the next a haunts the memory. hysterically violent harpy. In Witnessing her vicious, a flash she can move from volcanic rendition of “Every wrenching, animalistic sobs thing’s Coming Up Roses” or to a lucid honesty that freezes her emotionally naked the blood. It is quite the “Rose’s Turn" is almost piece of work. painful, hut it is the multi Ms. Redgrave is matched, tude of quiet subtleties that however, by her fellow cast make her unforgettable. Just members. Brian Dennehy is watch the grim, relentless perhaps a bit too fleshy and need and ugly desperation on her face as she sees her Bernadette Peters is Gypsy Rose Lee rough-edged to be the ideal James Tyrone, but he man daughters perform, and if ages to pull off the role with power and tragic you don’t feel both pity and terror you’re dead stature. Robert Sean Leonard is perfect casting as the poetic Edmund, and he gives a touching per nother remarkable mother is (in stage over at formance, hut it is Philip Seymour Hoffman (who the Plymouth Theatre, where Robert Falls’ you remember from such roles as the creepy '- production of Eugene O ’Neill’s Long Day’s reporter in Red Dragon and doomed friend Freddie Journey Into Night is the dramatic highlight of the year. This lacerating family drama, “written in in The Talented Mr. Ripley) who truly delivers with an account of the tormented Jamie so raw and tears and blood,” demands everything from its dangerous it’s harrowing to watch. cast, and the current revival’s quartet is thrilling. Leading the pack is Vanessa Redgrave’s already Hoffman is also responsible for directing legendary portrait of Mary Tyrone, the family’s one of the off-Broadway season’s highlights:—a haunted, drug-addicted matriarch. She is an beautifully realized production of Stephen Adly astonishing actress who works without a net, and Guirgis’ play Our Lady of 121st Street. Guirgis is a passionate new voice in the theater, and this study of misfits and lowlifes has a gut-punching acid intensity. As performed by a blistering cast who seem to not so much act as live their roles, this is one strong evening of theater. Would that the season’s most praised new Broadway drama packed the same punch. Richard Greenberg is a marvelous playwright, but I was left cold by his Tony-winning Take Me Out. The coming out of a gay baseball star is certainly ripe, not to mention timely, materi al for dramatic conflict, but this unwieldy script by J im R a d o st a never quite came together for me as either social drama or metaphor. e certain There is no faulting Joe Mantello’s polished direction or the fine cast. And a good enough ly didn’t reason to see the show is the superb perfor need any mance of gay actor Denis O ’Hare as a gently more evi fey gay man who finds an ecstatic reason for dence that the living in the mysteries of baseball. It’s one of Great White Way the most touching and funny characters to is queer central, grace this or any other season. but the 57th annu There are other small delights to be found al Tony Awards on New York stages this year. Jonathan Tollins, removed any doubt the author of the portentous Twilight of the June 8. Golds, has come back with a far more effective The ceremony new work called The Last Sunday in June. The included a same- Scott Wittman (left) and conceit here is that for the first half of a some sex smooch Marc Shaiman smooch what slight one-act we seem to be watching a between Mate during the 57th annual self-referential compendium of every gay play Shaiman and Scott Tony Awards written since 1969. But then things start to Wittman, personal take a surprising turn, and the last half of the and professional partners for 25 years, who were evening gets into some decidedly murky waters. honored for the score of Hcmfrray. The musical Rounding out this highly enjoyable season is version of queer director John Waters’ 1988 cult the off-Broadway cult hit Zanna, Don't!, a film swept with eight awards altogether, including delightful trifle with a nice little satiric sting. a Best Actor trophy for legendary actor and play The style is Disney High School musical, but wright Harvey Fierstein, who filled the high heels the gimmick is that all the Ken and Barbie apple of the late, great Divine. pie students are gay and that the leading couple But wait— there’s more queer accolades. must hide their shocking hetero romance. Take Me Out, a play about a gay baseball player Zanna, Don't! delights with a peppy score and that features generous amounts of full-frontal often deliriously funny lxx>k and lyrics, and the nudity, won Best Play and Best Featured Actor cast perform with the perky panache of eager in a Play for Denis O ’Hare, who thanked his cheerleaders. As in your whole trip to the stage in boyfriend sitting in the audience. New York City this year, what’s not to love? Michele Pawk, who was named Best Fea tured Actress in a Play for her role in Holly For ticket information visit www.broadway.com. wood Arms, summed up the evening best: “I have never been more proud to be a member of JO N K R E TZ U is associate artistic director of this community. Men kissing each other on Portland’s Artists Repertory Theatre and the biggest stage. Drag queens. Children. It’s a perfect theater queen you're ever apt to meet. world. As it should be." 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