I join the official chorus of praise here. UPDATE: There's always one dissenter, I guess. This time it's The Journal News' Jacques Le Sourd, who has every right to think August: Osage County a "big, messy play" but who steps a little out of line in dismissing Letts' Killer Joe and Bug as "little Off-Off-Broadway plays," then jumps way over the line by giving away the play's biggest spoiler. Don't click here if you haven't already seen the play.
(Photo by Michael Bresilow.)
I'm so glad you enjoyed it, Rob. I saw it twice in Chicago and hope to go to New York to see it there as well. Truly one of the highlights of the past few years for me.
ReplyDeleteKerry
Oh no, I can't believe how much that review gave away. And I thought the set was amazing! Add me to the chorus of praise. What especially impressed me was how well Tracy Letts writes about the lives of women, the pressures they face, espcially the "sandwich generation," caught between the needs of their aging parents and growing children. Plus, he has some very witty, perceptive dialogue. And what a great company of actors. This was my first time seeing a Steppenwolf production and I was totally blown away. It really makes you realize how much great theater there is all over this country.
ReplyDeleteWow. I disagree with pretty much every sentence of that review. It's clear he didn't watch the play. She doesn't shout incoherently at the dinner table, she destroys people with remarkable precision.
ReplyDeleteRob, I have never disagreed with any review more. Even when I disagree with Ben Brantley, there's at least an element of truth.
ReplyDeleteWhat disturbs me are dismisive comments like:
"Violet also has a sister (Rondi Reed) who is married to an upholstery man (Francis Guinan). Both seem to come from another planet."
"It's clear he's willing to avoid dramatic truth to stay entertaining. The effort makes for a very false kind of drama."
He's obviously never met my extended family or any of my friends' families, let alone acquaintances I have from coast-to-coast. The man must not get out much.
To paraphrase Aaron Sorkin, this critic can't handle -- or appreciate -- the truth. Perhaps that's ironic given that playwright's drubbing earlier this week.