Review: Our Town

Review of the Saturday, November 9, 2024 matinee performance at the Ethel Barrymore Theatre in New York City. Starring Jim Parsons, Zoey Deutch, Katie Holmes, Billy Eugene Jones, Ephraim Sykes, Richard Thomas, Michelle Wilson, Julie Halston and Donald Webber, Jr.  Written by Thornton Wilder. Scenic design by Beowulf Boritt. Costume design by Dede Ayite and Audrey Peterson. Lighting design by Allen Lee Hughes. Sound design by Justin Ellington. Direction by Kenny Leon. 1 hour, 50 minutes with no intermission.

Perhaps I went into Our Town with unrealistic expectations. The Thornton Wilder classic is one of my favorites; I've seen it several times, performed scenes from it in high school and college, and studied the text as well. Also, after his exhilarating production of Purlie Victorious, I couldn't wait to see what Kenny Leon would bring to this venerable classic. Boy, I was disappointed. For all of its "for our generation" hype, it was flat and boring. Worse yet, the cast looked as bored as I was. This revival committed what I consider the very worst of theatrical sins: it left me feeling nothing at all. Not bad enough to hate, not daring enough to be even the tiniest bit intrigued, and even the decent parts weren't worth giving much of a second thought.

First, what worked for me offers little surprise. Beowulf Boritt's set design was exactly what the play needed, no more, no less, though the Act 3 setting was nicely revealed and rendered. Similarly, Allen Lee Hughes' moody area lighting fit the nebulous nature of the work's requirements; the lanterns that hung over the stage in reaching up into the balcony were lovely, serving as guiding lights, stars, and whatever other momentary need there was. 

As far as the actors go, there were four absolute standouts: the mothers and central children of the piece. As Mrs. Gibbs, the doctor's wife and icon of housewivery, Michelle Williams brought the energy up every time she entered, and Katie Holmes does some heavy lifting with the built in mundanity of her role. Both did what I think Wilder expected by giving subtext and gravitas to their line readings. As George Gibbs, awkward teenager/mature man before his time, Ephraim Sykes also lifted the whole thing out of its self-inflicted doldrums with each speech, gesture and movement, while Zoey Deutch as Emily Webb, the confident, smart young woman and object of George's affections, burst open each scene she was in, too. And when the two of them were together, their chemistry wrapped over the audience like a warm blanket. All four actors come the closest to what I think Mr. Leon was going for - characters that are both of their time (1901) and of our time (2024). I can't even put my finger on how exactly they did that, but you could sense it nonetheless.

Considerably less effective were the costume designs of Dede Ayite. Though it is obvious (too obvious) that she was trying to convey the "then is now" directive of the production, what appeared on stage was such an inconsistent hodgepodge of styles and eras that it took you out of the scenes it was so jarring. Little House on the Prairie dresses for some, canvas bodices and short shorts/skirts for others. Some looking like they were part of a forgotten revival of The Music Man, with still others dressed for office work in the 1970s and 80s. One of the "ladies of a certain age" came to the wedding dressed like a community theater Joanne from Company. And the milkman was in what appeared to be a denim onesie and combat boots! I heard more than one patron discussing it as we were leaving, "Were the costumes confusing, or was it me?" No, ma'am, it wasn't you. 

Then there were the actors. Some were completely wasted: Jim Parsons, who I adore, it pains me to say, was not good. Sure he knew his many lines, but he played the Stage Manager as a bearded Sheldon Cooper, same gesticulating and quirky affectations and all. Richard Thomas brought nothing to his role as Mr. Webb. Not even at the funeral for his daughter did he seem even mildly upset. The usually funny and smart Julie Halston was ridiculous stereotype who seemed like she was pushing for laughs. Not that I can blame her - anything for a response. Others were shockingly amateurish. Billy Eugene Jones, as the perpetually exhausted Dr. Gibbs, gave line readings you'd expect from a high school kid reading the play aloud in English class. And if other characters on stage hadn't gossiped about it, you'd never know Donald Webber, Jr.'s Simon Stimson was the town drunk. I mean there's hiding it, and there's not playing it at all. Is it a good thing when the rest of the townspeople - representations of all types of day-to-day folks - were so nondescript as to be virtually meaningless?

I thought this might be the first show in years I've been to that didn't get a standing ovation, but of course, someone stood and slowly everyone was on their feet. The applause, however, did not match the ovation, so at least there's that. I did not stand, and the lady next to me, who had been audibly sobbing at the end, gave me some serious stink eye, as if to say, "what is wrong with you??" To each their own.

📸: D. Rader

Looking Forward to Fall: September - November 2024

Where did summer go? Personally, I'm happy for the fall - it'll get cooler, the leaves will turn, and the new Broadway season will be in full swing! As always, though, before we look ahead, we like to take stock of where we've been. Over the past three months, we've had The Tony Awards (congrats to The Outsiders, Stereophonic, etc.), and we saw Suffs before the awards. Though it wasn't really one of my favorites, I do appreciate how suddenly it has become even more relevant than ever. Maybe I was too hard on it. We also got to revisit an old favorite of mine in a moving, all-star revival at City Center - I'm talking about the magnificent Titanic. Before it ended its acclaimed limited run, we also got to see Illinoise one more time, and it was even more ravishing than the first time. Importantly, we ended the summer with the chance to see two of the 2024-2025 season's first offerings: the outrageously funny Oh, Mary!, and the utterly charming revival of Once Upon a Mattress. Both bode well for another thrilling Broadway season!

So, what are we looking forward to most this autumn?

Looking Forward to Fall:

September - November 2024

Well, there's a lot of potentially great stuff coming this fall, and I wish I had time (and money) to see them all. And I am pretty sure a few of these will have to wait until winter,,, but these all arrive this autumn, so hear we go!

Gypsy (Broadway - Majestic Theatre)

Unbelievably, it's been 16 years since we last saw a production of this classic, and yet, I feel like I'm suffering from Gypsy fatigue. Still, a chance to see the newly refurbished Majestic might be enough to get me to see it. I'm serious. But of course, the show's star, an unknown named Audra McDonald and an amazing director, George C. Wolfe are certainly compelling. If anyone can do something new and interesting with it, it's those two.

Death Becomes Her (Broadway - Lunt-Fontanne Theatre)

Although I don't love the movie that this is based on, how could the siren song of three of my all-time Broadway favorites be ignored? The triple-play of Megan Hilty, Jennifer Simard and Christopher Sieber practically guarantees that I won't miss this one!

Maybe Happy Ending (Broadway - Belasco Theatre)

I generally love anything Darren Criss does, so that may be reason enough to see this one. Then there's the chance to see a potentially new Broadway star in Helen J. Shen. Also, I simply cannot stop watching the video the show has released - is it coded to mesmerize me? And this is a big reason to see this show: directing is Michael Arden. I'd pay to watch him organize a grocery store shelf...

Our Town (Broadway - Barrymore Theatre)

One of my favorite plays + one of my favorite (and always interesting) directors, Kenny Leon + a stacked cast including Jim Parsons, Richard Thomas, Julie Halston, Katie Holmes and Ephraim Sykes = an exciting trip to Grover's Corners, U.S.A.! 

Ragtime (Off-Broadway - New York City Center)

For me, the score of this show is far superior to the show itself. The original Broadway production was a "meh" for me. But a largely unfettered, mostly concert version with a fantastic orchestra might just get me to see it again. Will the absolutely stellar cast (Caissie Levy! Brandon Uranowitz! Joshua Henry! Joy Woods!) change my mind about this one? 

Romeo and Juliet (Broadway - Circle in the Square Theater)

For me, the play isn't the thing with this one, but I am excited by the possibilities of an intense modern retelling as suggested by their creative ad campaign! Then, too, the chance to see this exciting, young and diverse company is thrilling - especially the opportunity to see another star from Netflix's Heartstopper, Kit Connor and West Side Story's Rachel Zegler as the star-crossed lovers is really something to look forward to!

Sunset Boulevard (Broadway - St. James Theatre)

Any chance to see a professional production of one of my all-time favorite musicals, is a guarantee that Jeff will be attending. I am so curious to see a no-frills, modernist staging of one of Broadway's most epic productions. This one is already the stuff of legend, and with most of the West End's original principal cast, I don't think I could be any more intrigued. Will I be a Jamie Lloyd fan when all is said and done? Stay tuned!

Swept Away (Broadway - Longacre Theatre)

The story intrigues me. The advertising excites me. Michael Mayer directing has me feeling confident. The cast has me over the moon - John Gallagher, Jr. and Stark Sands are amazing in everything they do. An American Idiot reunion with a show that has nothing else in common has the potential to be theater-life changing. Very excited for this one, for sure!