A Theatre-Goer's Thoughts

The Trip to Bountiful is one of several plays by Pulitzer Prize-winner Horton Foote that document lives of ordinary people in or from small Texas towns in the 1900s. (Foote also won Oscars for his screenplays of “To Kill a Mockingbird” and “Tender Mercies.”) Currently at the historic Ford's  Theatre, the play is perfectly suited for Ford’s intimate space in this well-crafted production. Mrs. Carrie Watts is miserable in her current circumstances. An energetic woman of advanced years, she shares a tiny Houston apartment in the years after World War II with her son, Ludie, and his shrewish wife, Jessie Mae. Everything that Carrie does, from her hymn singing to her “running” through the apartment, grates on Jessie Mae. Ludie tries to keep things peaceful, but he is now decidedly more his wife’s husband than his mother’s son. Any peace between them is bound to be fragile and, ultimately, short-lived. If only. If only Carrie can get back to Bountiful, the small town on the southeas...

  I haven’t read The Color Purple , Alice Walker’s Pulitzer Prize-winning 1982 novel. It has been (and continues to be) the subject of much book-banning for a variety of reasons, including violence, language, drugs, and sexuality. I saw the 1985 film by Steven Spielberg when it was released; only vague images remain in my memory. I did not see either the 2005 original or 2015 revival of the musical version of The Color Purple , so this was as close to a brand-new experience as possible. When I learned that the remarkably talented Nova Y. Payton would take the starring role of Celie in the production at Arlington’s Signature Theatre, I was quick to purchase my ticket. (A film version of the musical is planned.) The plot follows Celie from the age of 14, abused and pregnant with her father’s child, as she marries a brutal man called Mister, who continues her abuse. Celie’s only comfort is her relationship with her sister, Nettie. When Mister attempts to assault Nettie, Nettie leave...

  Shakespeare’s A Midsummer Night’s Dream is many things: a comedy, a romance, a fantasy, even a revenge drama. The most often produced of Shakespeare’s plays, it has always been a fan favorite. I had my own experiences with it, once upon a time, many, many years ago, when I acted in a college production of it – as Peter Quince, the carpenter who directs “the play within the play.” I have never been a Shakespeare purist. I celebrate colorblind casting and have seen well-executed performances by women playing male characters. (Remember, all of Shakespeare’s plays were originally staged with men playing all of the roles.) I’ve seen successful productions that were set in different time periods. I remember a touring production of Much Ado About Nothing set in 1950s Cuba that I saw in Durham, NC, over 30 years ago. But this “adaptation” of Shakespeare’s play, produced by the Washington’s Folger Theatre at the National Building Museum this summer, was “impure” enough to bring out a...

Everyone brings their past experiences and prejudices to the theatre. As much as we may try to be objective about what we see, what we are seeing is art and therefore subject to the interpretation by the viewer. Saturday, August 13, I saw the matinee performance of a new musical, The Devil Wears Prada , based on the book and film and brought to the stage by Kate Wetherhead (book), Shaina Taub (lyrics), and, most notably Sir Elton John (music). Directed by Tony Award winner Anna D. Shapiro, with choreography by James Alsop and designs by Christine Jones and Brett Banakis (scenery and media), Arianne Phillips (costumes), Paule Constable (lighting), and Nevin Steinberg (sound). The Chicago run at the James M. Nederlander Theatre is a pre-Broadway tryout. In days past, the out-of-town tryout (in Philadelphia, New Haven, Boston, etc.) was an opportunity for the playmakers to test the waters away from the prying eyes of the New York critics. There are countless stories of shows having pr...

Friends have suggested that I start a blog, a place where I can share my reflections on a lifetime of theatre-going. Theatre-going and opinion-sharing are nothing new to me; some may even say that I overindulge in both.  Living in the DC area means that I have easy access to a number of outstanding professional theatres, as well as a reasonable proximity to New York and all that it offers. I am hopeful that in my retirement I can be more flexible in when and where I go.  In addition to my current experiences, I'm sure I will reminisce about past theatre-going experiences over the past 60 years or so.  This may also be a place for dialogue where we can engage in discussions about all of our theatre-going experiences.