A Hell of a Town

I spent the past week in the "greatest city in the world" and figured I'd share some tidbits with you about my time.

Stritchy was a blast Tuesday at home at the Cafe Caryle. For a $100 tab (modest there, I ate nothing) I saw Michele Lee and conductor [insert famous name here that I forgot] in the audience. I also saw Kristin Davis [or a lookalike, but who's counting] sitting on a bench in the lobby. Stritch was in, well, rare? form. Her "Could I Leave You" from FOLLIES was great, but not a good enough substitute for the only song I really wanted to hear: "The Ladies Who Lunch." Of course, perhaps it was better she didn't sing it; I wouldn't want my lasting memory of it to be butchered. See, she's getting old and complained of larngytis that night, but who could tell the difference anyway, right? She mentioned Barbara Cook and the whole audience, as if on cue, let out this "Oh I wish I had seen her" sigh. Stritch growled, "Oh don't sigh." It was delightful. Her bullpen was right beside my barstool, which was great to see her warmup, and as a fitting close to the night, warm down, as she drank her cappucino and stripped down to a bra right beside me.

Alan Ayckbourn's ABSURD PERSON SINGULAR was an absurd waste of my time and money. Appaling, in fact, the more I think of it. Mireille Enos essentially recreated her character from last season's VIRGINIA WOOLF. Clea Lewis, however, made me laugh--I couldn't help it, even though I wished she weren't so funny. She gained the audience's approval through gags and gimmicks of character instead of development of character. But, maybe it wasn't her fault. I don't think Ayckbourn really thought much about this play. In fact, the very elderly couple sitting next to me was also quite turned off by the whole event; I agreed with them to the point that I didn't care about their obsessive loud-talking during the show.

SWEENEY TODD, too was a disappointment. At the Eugene O'Neill, where I have been so thrilled before by NINE and CAROLINE, OR CHANGE, I found myself discouraged at the state of theatre today. Finally, the sound board op turned out Cerveris's mic after he sang his important expositional information. Patti (LuPone) was herself, as was to be expected, but fighting allergies as well (coughing and nose-wiping even!). The lovers, as played by Benjamin Magnuson (any relation?) and Lauren Molina (again?) in their B'way debut performances, were a treat! I appreciated that their instruments were both the cello--it made for some good symmetrical staging. Pirelli as a woman is appaling, laughable and ridiculous no matter how "bold" they must have thought they were being. Which, in turn, makes me ask: did they think at all really? Perhaps not. If I didn't know the story going in, I never would known it coming out after this production. Director (and scenic designer) John Doyle so confused his audience it is a wonder the producers allowed it to be mounted in the first place.

Although--I wish I had been an actor on the production. They were required to join the local musician's union, since they're playing the entire show themselves, and therefore making TWO paychecks. Bastards.

More fun from the city soon -- and actual fun, believe it or not. Some good shows to see: SEE WHAT I WANNA SEE at the Public and last year's Tony winner, DOUBT, are both great.