By Ryan Leeds on October 23, 2024
By now, we’ve heard the lesson: Screentime is killing us. It’s made us less communicative with each other, more easily distracted, and more reliant on apps, maps, texts, tweets, posts, pokes, likes, loves, gifs, memes, and emojis of every type except the ones on real, live human faces.
TV shows, films, and theater have long spread these themes through much of their content, and when the world halted in 2020, storylines incorporating these themes of disconnection became even more potent and pervasive. It looks like Babs was right: People who need people really are the luckiest people in the world.
Yet it wasn’t the last 25 years of media, a global pandemic, nor even our favorite diva, Barbra Streisand, to remind us of the need for precious interwoven humanity. Long before they came along, we had playwright and novelist Thornton Wilder.
In 1938, his play Our Town premiered, first in Boston and later on Broadway, where it earned a Pulitzer Prize. Since then, numerous Broadway revivals have been mounted, and it has become a favorite option for schools, colleges, and community theaters around the world.
Currently, Kenny Leon and his gifted creative team have infused fresh life into the timeless story of small-town America in a Broadway revival starring Jim Parsons and a stellar cast of actors.
Not much happens in the fictional town of Grover’s Corners, a small enclave in New Hampshire “just across the Massachusetts line.” Parsons plays the nameless, everyman stage manager and serves as the town’s guide. Before introducing us to Dr. Webb (Billy Eugene Jones), his wife (Michelle Wilson), newspaper editor Mr. Webb (Richard Thomas), his wife (Katie Holmes), and both of their families, he gives us the layout of Grover’s Corners, finishing his description with “Nice town, y ‘know what I mean? Nobody very remarkable ever come out of it, s’far as we know.”
As Wilder intended, Parsons breaks the fourth wall, addressing both the audience and the inhabitants of this village. With a mere population of 2,640, according to Professor Willard (Shyla Lefner), it stands to reason that everyone knows one another. (Surprisingly for a small place, Our Town — with a cast of 27 — boasts one of the largest ensembles currently in a Broadway play).
Three acts comprise Our Town: “Everyday Life,” “Romance and Marriage,” and “Death and the Afterlife,” and we are told when the acts begin and end. Constantly, we’re made aware of the fact that we are watching a play, but it’s as though Wilder borrowed a page from Shakespeare’s notion that “all the world’s a stage, and all the men and women merely players.”
In this production — as in other stagings — the set is minimal, and there are few props. Wilder’s original intent was to “restore significance to the small details of life by removing the scenery. The spectator through lending his imagination to the action restages it inside his own head. In its healthiest ages, the theatre has always exhibited the least scenery.”
Sparse though it may be, Beowulf Boritt’s set, with its rustic walls and vintage hanging lanterns that softly illuminate the theater, is calm and contemplative, setting the tone for the entire show. It is a gentle and humbling reminder that Grover’s Corners is exactly like our own microcosmic communities: vital, but minute, under a sea of stars.
Our Town is a true ensemble piece. There is quiet restraint in all the cast’s actions and a stoic demeanor that suggests they will weather any storm that life throws their way. And although we are told that the story takes place in 1901, Leon throws in contemporary songs and opens the show with some cast members taking selfies of themselves. He’s also diversified this small town. These elements bring a modernity that cause us to see our own lives and communities.
Our Town is not the most dramatic work ever written — nor is this production. It isn’t supposed to be. Instead, it’s a reflection of common people doing common activities, living lives to the best of their abilities, and facing the challenges with a level-headed reality.
Towards the end, Emily Webb (Zoey Deutch) says, “Oh, earth, you’re too wonderful for anybody to realize you. Do any human beings ever realize life while they live it? – every, every minute?”
Perhaps that realization is often ignored or lost. What is not lost and fully realized is this stunning production that should make us grateful for the gifts of live theater and the people we most value — if only we’d look up from our phones.
Our Town (★★★★★) plays through Jan. 19, 2025, on Broadway at the Barrymore Theatre, 243 West 47th St. Tickets are $74 to $321. Visit www.ourtownbroadway.com.
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By André Hereford on October 6, 2024 @here4andre
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In the darkly comic mythological fable Cracking Zeus, playwright Christopher T. Hampton brings a vengeful goddess down to earth. But while the play, inventively staged by Reginald L. Douglas, reaches for divine comedy, Spooky Action Theatre's production remains earthbound.
The angry deity in question is Hera (Nicole Ruthmarie), who deigns to set foot on Earth for the sole purpose of exacting revenge on one of her husband Zeus' many mistresses by punishing the progeny of their affair.
That mistress would be Momma Jo (Lolita Marie), the founder, owner, treasurer, and pastor of a street corner chapel in the '90s inner city, and her son Baniaha (Charles Franklin IV), the congregation's youth group leader, is the ill-fated son of Zeus. Although, Baniaha doesn't know who his father is.
By Ryan Leeds on September 22, 2024
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Broadway has never had a shortage of leading ladies, but the fall season offers a surplus of divas who will no doubt be leaving indelible impressions long after the curtain falls.
Other recognizable A-listers from stage and screen will grace New York's Broadway and Off-Broadway houses as well in shows ranging from sturdy American classics to contemporary subjects of Artificial Intelligence.
Whether you're a local, a frequent visitor, or a tourist, these upcoming productions promise to be worth your time, money, and in some cases, all the gay gasps you can muster. Will they make good on such claims? Metro Weekly will be on the aisle to offer adulation, admonishment, or a combination of both.
By André Hereford on September 22, 2024 @here4andre
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Take it from somebody who's sat in a stylist's chair at an African hair braiding shop in Harlem, and had the kind woman scoff at the thought of trying to finesse too little hair into D'Angelo-inspired cornrows, that watching Whitney White's snappy staging of JaJa's African Hair Braiding is like stepping into a salon on 125th Street in Manhattan.
Jocelyn Bioh's hilarious ensemble comedy -- which premiered on Broadway last fall in a production that White has brought intact to Arena Stage, except for the cast -- offers a generous glimpse into the world of the immigrant women whose lives intersect at JaJa's shop in Harlem. Each character we meet is vibrantly specific, yet seems to authentically reflect the communities they represent.
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