Woman Around Town’s Editor Charlene Giannetti and writers for the website talk with the women and men making news in New York, Washington, D.C., and other cities around the world. Thanks to Ian Herman for his wonderful piano introduction.
“There’s something I have to tell you… You know how people have different sides to their personality… Sometimes, a, uh… a person will have to actually lead a different life… (pause, sighs)…That was me at 18 doing my impression of Michael Keaton doing his impression of Bruce Wayne in the movie Batman, and I’ve been doing that, in some form or another, for approximately 27 years.”
To author/actor Jason O’Connell, Batman was the ne plus ultra of champions, the unheralded philosopher of our times, his unwitting guru, a father replacement. Unlike super heroes, the character has no powers. Batman, he proffers, could be anybody, albeit with millions of dollars. First an outsider because of his obsession, O’Connell later found attractive women ?! who appreciated the caped crusader, naming each of his girlfriends for a character in successive films.
O’Connell is a good storyteller and an adroit writer. He looks us right in the eyes generating connection and sympathy. With this first one man show, the artist deftly intertwines tales about his career, accounts of relationships, and life lessons with specific views on the Batman franchise. To varying degrees of success, he conjures Michael Keaton (really well), George Clooney, Christian Bale, Jack Nicholson (mostly facial), Danny DeVito (physically), Arnold Schwarzenegger (ably)…as life coaches. (Only one unintelligible character is unidentifiable and might easily be expunged.) Casting, script attitudes, and directors are wryly critiqued.
It helps to have some familiarity with the films and actors, but this is not an analysis. With candor, sweetly self denigrating humor, and cultural perception, O’Connell is telling us the story of one boy’s growth and coping mechanisms in contemporary times and pop context.
Integration of Shakespeare (obsession with another man in tights) through theatrical training draws clever parallels. An utterly charming anecdote features O’Connell’s observing a boy’s ballet class with such appreciation of unexpected beauty, he begins to recite What a piece of work is man…. Talk of a beloved grandfather is also affecting.
My single caveat is O’Connell’s schizophrenic, multi-impersonation denouement, one character loudly arguing with the other in an unnecessary cacophony of people occupying his head. It’s nigh impossible to get that many distinct portrayals right with rapidity, an onslaught, and unnecessary to the show. The quiet ending will work fine omitting this.
Director Tony Speciale has done a seamless job. Gestures work. Pacing is pitch perfect.
Alas, no one’s been given credit for sound which adds immeasurably.
A unique and entertaining evening.
Dork: a person who behaves awkwardly around other people and usually has unstylish clothes, hair…Merriam Webster Dictionary
Photos by Ben Strothmann
Abingdon Theatre Company presents The Dork Knight Written and Performed by Jerry O’Connell Directed by Tony Speciale Through January 29, 2017 Dorothy Strelsin Theatre 312 West 36th Street
When the movie Terms of Endearment came out in theaters in 1983, it was by all measures an incredibly successful film. Based on the book by Larry McMurtry and with ascreenplay by James L. Brooks, it featured a who’s who of award-winning actors, including Shirley MacLaine, Debra Winger, and Jack Nicholson. Now the story comes to a new home, 59E59 Theaters, for its first U.S. stage production.
Adapted for the stagve by Dan Gordon, Terms of Endearment tells the story of sweet Texas rose Emma, her critical and tough-as-nails mother, Aurora, and the men who lift them up and let them down.
The stage cast is full of familiar faces, headed up by the striking Molly Ringwald, the John Hughes muse who personified 80s teen culture in films like The Breakfast Club and Sixteen Candles. Here she puts on a hilariously snobbish New England accent and steely persona to become a woman who is at turns domineering, flirtatious, and sympathetic in the grief for all she has lost.
At first she seems completely unlikeable, almost to the point of being abusive in her criticism toward Emma, but at the story goes on and the years pass, she comes into focus as a woman who loves deeply but is also bridled by her expectations. The problem with being so critical about frivolous things is that when real criticism is deserved it doesn’t land with the impact it requires. It’s a complex role and Ringwald does it proud. But she doesn’t do it alone.
Jeb Brown plays the astronaut, Garrett, and he makes an instant impression on both the audience and Aurora. He’s an utter cad, always chasing after younger women and the next good time, but he’s also undeniably charming. His footloose and fancy-free philosophy couldn’t be more at odds with Aurora’s staid dignity. For every joke he cracks, no matter how flirtatious or fact-based, she has a reason to be doubtful. Yet when the two get together, doubt turns to delight. Between Brown’s charisma, Ringwald’s gravitas and their chemistry together, this is a production not to be missed.
Hannah Dunne, a familiar face to Mozart in the Jungle viewers, takes on the role of Aurora’s beleaguered daughter, Emma. Where Aurora wears silk, Emma opts for flannel. She hitches her post to Flap—a nickname Aurora cannot abide—a dismissive boy who becomes a dishonorable man, but that doesn’t stop them from having three kids together, kids that Emma cares for nearly singlehandedly while Flap is off gallivanting inappropriately with his university students.
The problem with Dunne’s Emma being so unflappable and willing to go without is that the performance requires a kind of subtlety that doesn’t quite come out—at least not farther back in the audience. She seems uniformly sweet, uniformly forgiving, even when she and her children have been done wrong. As for Flap, played by Denver Milord, there is little to recommend him. In the beginning, he comes off as a bit sexist and certainly inconsiderate, but things just get more unforgivable as time goes on.
Jeb Brown and John C. Vennema
Director Michael Parva, who has worked with playwright Dan Gordon before, and set designer David L. Arsenault, have worked together to craft a graceful, flowing, nearly seamless production. However, for those who have never seen the 1983 film, the mother–daughter relationship is the entire story. You can sense Emma’s discontent with Flap, but not really get the full idea of just how much of a snake he really is. You can hear that Emma’s son Tommy’s anger at his mother is deep and hot, but not feel how terribly it stings.
Unfortunately, due to space and time constraints, there are some really powerful moments in the film that simply don’t happen in this version. It’s a disappointment, but not enough to keep from recommending this production, which can still make inspire laughs and move people to tears—as it did most of the audience judging by the sound of sniffles that filled the room. Jessica DiGiovanni as Patsy and the Nurse and John C. Vennema as Doctor Maise round out the cast, both of them lending depth and humor to their smaller but important parts. Vennema in particular plays things to full humorous effect.
Photos by Carol Rosegg Top photo: Molly Ringwald and Hannah Dunne
Terms of Endearment Directed by Michael Parva Adapted by Dan Gordon 59E59 Theaters Through December 11, 201
With Dr. Strange coming out Friday, (the buzz says that it’s the trippiest Marvel movie yet), inevitably the mind turns to other magicians, wizards, witches, and sorcerers supreme who’ve dazzled us on screen. As the following examples show mastering the Dark Arts is a veritable cinematic tradition.
The Wizard of Oz(1939) This technicolor, musical-comedy-drama-fantasy, based on the beloved Frank L. Baum masterpiece, represents the best of Golden Age Hollywood with Judy Garland in the performance that made her an icon. While (spoiler alert) the titular wizard is a fraud, the powers of Elphalba the Wicked Witch of the West, and Glinda the Good Witch are very real and propel much of the events of the plot. It was nominated for six Academy Awards including Best Picture but lost to Gone With the Wind. Initially something of a box office disappointment, it would later go on to become one of the best known films in American history and a cultural landmark.
Excalibur(1981) Directed, produced, and co-written by John Boorman (Deliverance and The Tailor of Panama) Excalibur retells the classic legend of King Arthur primarily from the viewpoint of Merlin played with grandeur by Nicol Williamson (Hamlet, Inadmissible Evidence). From the days of Uther Pendragon (Gabriel Byrne in the role that launched his career) to Arthur’s final showdown with Mordred, Merlin steals the show. And this is among a truly great cast including Nigel Terry as King Arthur, Helen Mirren as Morgana Le Fay, Nicholas Clay as Sir Lancelot, Cherie Lunghi as Gwenevere, a young Patrick Stewart as King Leondegrance, Liam Neeson as Sir Gawain, and Corin Redgrave as the Duke of Cornwall. It was all filmed in Ireland, and holds up as one of the best Arthurian adaptions of all time.
The Witches of Eastwick (1987) Directed by George Miller of Mad Max fame and based on the John Updike novel of the same name. Alexandra (Cher), Jane (Susan Sarandon), and Sukie (Michelle Pfeiffer), are three women all living in Eastwick, Rhode Island who share two things in common. One, they’re all single having lost their husbands. Secondly, unbeknownst to them, they are all witches, and wittingly they start a coven and start practicing spells. Soon the mysterious Daryl Van Horne (Jack Nicholson) comes to town and that’s when things start to get freaky. It was nominated for two Academy Awards and holds an over 70% fresh rating at Rotten Tomatoes.
Harry Potter and the Sorcerer’s Stone (2001) Directed by Chris Columbus. No such list would be complete without including the movie based on the best-selling book series that kicked off one of THE most successful film franchises in history. It helped that to do justice to Rowling’s vision they put together an all-star cast as well including Maggie Smith, John Hurt, Robbie Coltrane, and the dearly departed Alan Rickman. Billions of dollars later, Hogwarts has become a cultural landscape that all children secretly dream of being invited to attend, Dumbledore and Snape are now household names, and it launched Emma Watson and Daniel Radcliffe’s careers into the stratosphere.
The Witch (2015) Newcomer Robert Eggers wrote and directed this historical period supernatural horror tale that came seemingly out of nowhere to become an indie hit that grossed $40 million on a $3 million dollar budget. A puritan family is banished from their old settlement and builds a new farm by the woods. But beginning with the disappearance of their youngest child infant Samuel it soon becomes clear they are being terrorized by a powerful witch. It has an over 90% fresh rating at Rotten Tomatoes and Stephen King said the movie “scared the hell out of me.”