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." J f l
Broadway
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