The Winslow Boy

Terence Rattigan's new play, The Winslow Boy, took it's second spin at Roundabout's MainStage this season after its production at the Old Vic in London.   It's a play for playgoers.  Four acts.  A real story from start to finish.  Yes, it's a bit stodgy.  It's set in England after all.

The cast, however, was outstanding.  Lead superbly by Roger Rees (Arthur Winslow) and supported stupendously by Mary Elizabeth Mastrntonio (Grace Winslow), Zachary Booth (Dickie Winslow), Michael Cumpsty (Desmond Curry), Alessandro Nivola ( Sir Robert Winslow) and making his Broadway debut, Spencer Davis Milford (Ronnie Winslow).

Acting was crisp, superb and often funny.  The set was the usual high brow, top notch visual of a Kensington living room that Roundabout is known for.  Perhaps a scoach long for my liking but the quality of the acting and the storytelling far exceeded my expectations and neatly wrapped up in about 2h:30m.

Go see what all the fuss over Ronnie Winslow is all about at the American Airlines Theater on 42nd Street.

Look Back In Anger

John Osborne's 1956 play, Look Back in Anger, has been staged in London on the West End and subsequently on Broadway - both to a rather cool, if not frigid reception.  Movie versions were made in 1959, 1980, and 1989.  Acting and terrific performances aside this go-round, most of the critics historically were mostly unhappy with the story itself.  Although I stayed the entire 2 hours and 30 minutes this time around, the play still only warranted about 90 of them.

The play is truly a 4-some ensemble.  Matthew Rhys, the handsome and familiar Welsh actor from television's Brothers & Sisters, Adam Driver, a familiar Roundabout Theatre player , Sarah Goldberg and Charlotte Parry all handily carried their roles and graced the tiny sliver of stage they were allotted by director, Sam Gold, with power, grace, and presence - the only trouble really being the overly drawn-out material by Mr. Osborne.  Mr. Gold's choices in lighting, and the use of the "off-stage" area were innovative.  And Mr. Rhys' trumpet playing skills were certainly put to good use.

At an off-Broadway ticket price the cast is certainly worth seeing, but I highly recommend you get a cup of coffee at Starbucks around the corner before entering the theatre.  You're likely to need a double to get through the fine performances of this dirge.

The Importance of Being Earnest

The Roundabout Theatre Company may have an occasional flop (at least one per season, by recent calculations), but their current production of Oscar Wilde's The Importance of Being Earnest is certainly not in that category.  Esteemed stage actor, Brian Bedford, directs a superb cast at the same time starring in this 3 act romp.  Earnest is one of Wilde's timeless works and this production dishes up barrels of laughs and glamorous sets - a thoroughly entertaining evening in the theatre all around.

One cannot even say that Bedford, playing the role of Lady Bracknell in drag, stole the show.  The entire cast around him never missed a beat and elevated the pedestal upon which Lady Bracknell could perch.  David Furr (John Worthing) and Santino Fontana (Algernon Moncrieff)  - Wilde's two Earnests  - have impeccable comedic timing, dashing good looks, and abundance of energy.  Charlotte Parry (Cecily) and Sara Topham (Gwendolyn) are smartly coquettish and irresistibly innocent as the ladies who fall for their Earnests.  Supporting these two fine couples are the delightful Dana Ivey (Miss Prism) and the charming Paxton Whitehead (Reverend Chasuble). 

Wilde's writing is a good as it gets - and the tale told is one that is timeless.  Comparisons to the 2002 movie are likely to be made by some - but the stage version is still tops in my book.   This comedy of manners is a timeless tale that is is looking to have a long run into the summer at the American Airlines Theater. Get your tickets today.  You might want to use your real name or you might not be able to pick them up.