|Dakin Matthews and Helen Mirren in "The Audience." (Photo by Joan Marcus)|
If the notion of the military industrial complex once referred to the economy of armaments, and to their development and manufacturing as a disproportionately powerful political interest, what “Grounded” reminds us with blistering clarity is that warmaking itself can now be run on an industrial model. Not only our weapons are drones; our warriors are drones, too.I also had the chance to weigh in for America on a series of Broadway contenders. First, the unlikely puppet comedy Hand to God:
To this moral nightmare Brant adds another contemporary complication: His play’s protagonist is a woman, a former fighter pilot first grounded by an unexpected pregnancy, then by her country’s growing preference for conducting war by remote control. “No one ever comes back from the Chair Force,” she complains to the superior reassigning her to desk duty, but she soon takes a liking to the job’s unique mix of narrow, concentrated effort and risk-free firepower. Sitting at a simple chair but surrounded by Peter Nigrini’s immersive projection design, Hathaway’s desk-bound pilot stares into the sights of an omniscient screen and scans the frame for “military age males,” a.k.a. “the guilty.” Occasionally, though not as often she’d like, she gets to pull the virtual trigger and watch a silent grey explosion bloom.
There will be blood by the denouement of Robert Askins’s play, now improbably but gratifyingly running on Broadway after two popular Off-Broadway productions, though the gore is ultimately more silly/gross than truly mortifying. This is still a species of comedy, after all, albeit one shot through with grief, mental illness and sexual predation. Perhaps what’s most touching about the show, and makes it much more than simply an exercise in bratty blasphemy, is its authentically teen-eyed view of Jason’s struggles with his mother and his own budding if stunted manhood. This vein of empathy is not only to the playwright’s credit but also due to the astounding lead performance of Steven Boyer, who’s about twice the age of his role but is utterly convincing as a sort of frail, inward-directed, not fully formed Charlie Brown type.And I wrote about the cozy Anglophilia of Peter Morgan's The Audience:
That’s only half of what Boyer does, of course: In a tour de force that is certain to catch the attention of Tony Award voters, he also acts out the aggressive actions and speech of his potty-mouthed id, Tyrone.
Fame is both a prime subject and an intrinsic element of “The Audience,” directed with assurance by Stephen Daldry. Perhaps the most bewitching thing about Morgan’s play, which might otherwise be a stodgy slog, is the way Mirren’s and the queen’s very different kinds of fame reflect back and forth on each other, as in a hall of mirrors. The effect is both humanizing, since Mirren can’t help but bring shades of life and even mischief to the sovereign, whom she plays in her 20s through her present late 80s, as well as regalizing, if that’s a word. You come away with a sense of the woman’s stature, at least as Morgan conceives it—of the way that Elizabeth bestrides the world stage, albeit from a sidelong posture.Finally, I surveyed the season's musicals, both new and old, and declared the form in fine fettle:
This large-as-life queen makes the politicians who promenade through her palace look small and craven by comparison, and that is also Morgan’s point.
If jazz and the blues are America’s essential native musics, the Broadway musical is arguably our country’s great indigenous narrative form, with roots in minstrelsy, vaudeville and operetta. While its purported Golden Age was roughly between the 1930s and the ’50s, and its Dark Ages were the British-dominated 1980s of “Cats” and “Les Miserables,” the American musical is currently in the pink of health, if we measure by the current Broadway season (and it shows plenty of vital signs beyond Broadway, as well).Meanwhile, at my day job at American Theatre, I haven't been idle. I recently revisited an interview subject I'd first sized up for the Times, Center Stage's Kwame Kwei-Armah, who's written a new Bob Marley bio-musical. And I've covered the L.A. 99-seat wars from a few new angles, in Q&As with Equity's executive director, Mary McColl, and with actor Dakin Matthews. I chatted with former L.A. theater actor Silas Weir Mitchell, with the remarkable Anna Deavere Smith about her new project, and--bringing it all back to musicals--with Robert Schenkkan about his new New Testament-themed rock musical, The 12.
I also had the pleasure to review two new books about composer Leonard Bernstein, about whom I wrote:
Like a great playwright whose output must alternate with a demanding directing schedule, Lenny felt torn and increasingly worried—in a self-critique echoed by colleagues, both sympathetically and otherwise—that he had squandered one or the other of his great talents.As I used to say to my Back Stage West readers: Read on, and tell me what you think.
There was, of course, a third space, a middle ground, where Bernstein’s contradictions were assets, multipliers rather than dividers: the musical theatre, particularly as it was practiced during its purported Golden Age of the 1940s and ’50s. Here the composer’s intensely gregarious spirit found an ideal metier, both in the rough and tumble of collaboration with such colleagues as Jerome Robbins, Stephen Sondheim, Adolph Green and Betty Comden, and in the form’s omnivorous cultural sampling, where ballet was as at home as the blues. Bernstein wrote just four musicals, but the scores of three of them—On the Town, West Side Story and Candide—tower at the top of the field and remain his best-known legacy.