Costumes impact our understanding of Broadway’s The Real Thing
Cynthia Nixon’s caftan is a fabulous fashion statement, yes, but it’s also an emblem of how costumes enhance the storytelling in Roundabout’s current Broadway revival of The Real Thing.
The caftan—a glorious black-and-white number with a paint-splatter pattern and matching shirt underneath—operates on several layers at once. For one thing, it tells us something important about Charlotte, Nixon’s character in Tom Stoppard’s play, which charts how a playwright named Henry leaves his actress wife (Charlotte) for an activist named Annie.
While the characters are clearly delineated in Stoppard’s script, with Charlotte’s acidic wit and confident maturity at odds with Annie’s youthful passion and naiveté, costume designer Kaye Voyce knew that her work had to make those differences even sharper.
That’s why, when Annie (Maggie Gyllenhaal) and her husband Max (Josh Hamilton) come over for a visit, Annie sports a denim jacket and snappy floral skirt, while Charlotte greets them in her flowing frock. “Annie, Maggie’s character, has a kind of earthiness and playfulness about how she dresses,” Voyce explains. “But Cynthia’s character has more elegance. Partially that’s a difference in age and partially it’s a difference in their place in life. It’s even just how those two actresses look and feel.”
But the clothes have to do more than indicate who these characters are. They also have to tell us when they are. The Real Thing takes place in London in the early 1980s—it originally ran on Broadway in 1983—which means that by now, it’s a period piece.
“We had to figure out which pieces felt authentic to the period, but didn’t feel like the joke of the early 80s,” says Voyce. “But they also couldn’t feel too hip. There’s a way, especially in New York, in which people wear vintage clothing that feels cool, and a lot of that is from the early 80s.”
She continues, “We didn’t want to have those layers of information getting in the way of these people on stage. There would be things Maggie would put on, for instance, and we’d say, ‘That’s fantastic, but no. She looks like a college girl in Williamsburg.’ We had to make it natural and real while avoiding this other possible track.” [Read more →]
October 27, 2014 No Comments
From time to time, TDF Stages will highlight exciting Off and Off-Off Broadway theatre companies with exclusive “getting to know you” videos. Today we’re featuring Dixon Place, where every kind of artist tries every kind of thing.
This video features the writer-performers Dan Fishback, Sacha Yannow, and Toni Schlesinger; performer Gregg Mozgala; and Dixon Place founder/artistic director Ellie Covan.
This video was directed by Mark Blankenship, TDF’s online content editor, and shot and edited by Nicholas Guldner.
October 13, 2014 No Comments
Why the reprises in Broadway’s On the Town are so important
During the new Broadway revival of On the Town, pay attention to the songs that come back.
There are several of them in this classic 1944 musical, with music by Leonard Bernstein and book and lyrics by Betty Comden and Adolph Green. As three sailors scamper across New York City, looking for love on their one day of shore leave, they have all sorts of comic adventures, mostly with three young ladies who are just as zany as they are. And whenever they burst into song, the numbers almost always get reprised a few minutes later.
And those encores aren’t simply there to fill time. Just ask director John Rando, who’s helming the show at the Lyric Theatre. (This production transfers to Broadway from Barrington Stage in Massachusetts, where it played last year.)
“The one thing that I tried to share with the company was the joy of the reprise,” Rando says. “I wanted to embrace that form of musical theatre. Because you could choose not to do a reprise. You could choose to do a bridge that blends the reprise with the song, so that it’s just one number. But there’s something about the reprises that are important to the sense of play. How far can we take this spirit?” [Read more →]
October 7, 2014 1 Comment
Behind the lyrical design of The Curious Incident of the Dog in the Night-Time
There could, of course, be a very literal production of The Curious Incident of the Dog in the Night-Time. As our teenage hero, Christopher Boone, investigates the death of a neighbor’s dog, he could certainly inhabit a realistic world. As clues lead him on an improbable adventure from suburban England to the busy streets of London, we could see the walls and floor of his actual apartment, hear the sounds of nature as he wanders his neighborhood, and see the lights of a train station in the intimidating city.
But if the design were naturalistic, then we might not understand our hero. Though the word “autism” is never used in Simon Stephens’ script, which is adapted from Mark Haddon’s popular 2003 novel of the same name, Christopher is clearly on the spectrum. His relationship to everything—sound, light, physical touch, emotions—is highly sensitive, but at the same time, he’s a genius with numbers who loves the precision of train schedules and the vastness of outer space. For him, the world is a constant negotiation between chaos and control, where every stimulus can trigger panic or excitement.
It’s a reality like no one else’s. That’s why the National Theatre’s production of the play, which is now on Broadway at the Ethel Barrymore, has been designed to show us how it feels. As lighting designer Paule Constable says, “We’re trying to get the audience to imagine what it would be like to be Christopher, to empathize in a way where it’s more experiential than just watching him. We want the audience not to look at him, but to share with him.”
Therefore, the walls of the set look like giant sheets of graph paper, where Christopher can draw maps and where images can be projected as he thinks of them. “He loves technology and computers and space, so we tried to include those in the design,” Constable adds. “There are pixels—dots of light all over the set that light up at various points. We’re trying to create the matrix of what Christopher’s head is like.” [Read more →]
September 30, 2014 3 Comments
Jonny Orsini’s passionate preparation for his latest role
“I wanted to become a journalist before I became an actor,” says Jonny Orsini. “I think I approach roles the way a journalist approaches stories.”
That means he does a serious amount of research for every part he plays. Take his work in Almost Home, a new drama by Walter Anderson that’s now at Theatre Row in a production from The Directors Company. Orsini plays Johnny Barnett, a Marine going back to the Bronx after serving in Vietnam. The character not only confronts his own guilt at being called a hero, but also grapples with the expectations of his family and mentors, some of whom have shady ulterior motives.
For Orsini, who’s too young to remember what Vietnam veterans faced when they came back to America, books and films have been essential to his preparation. Even more importantly, he’s had long conversations with Anderson, who fought in Vietnam himself. “Walter didn’t necessarily experience everything in the play, but a lot of it draws from his life,” the actor says. “So to have him in the room was incredible. And he had the best suggestions about what to read and what to watch.”
The research, though, is only part of Orsini’s journalistic impulse. “I was always interested in learning about people and things that weren’t necessarily widely known and then bringing the story to light,” he says. “If you’ve gone through something and you feel alone, then seeing it in a respectfully told story can make you feel less isolated. Anything I can do to make people feel less alone is very much what I want to do with my life.” [Read more →]
September 26, 2014 No Comments