The most fun I've had at the theater the past year was at "Natasha, Pierre and the Great Comet of 1812". It's an extraordinary evening of fantastic music, tasty food and great theater. And the cast is sublime, especially Phillipa Soo as Natasha. Go see it. Strongest recommendation.
Neil LaBute Has Words for Critic Cote
Given the nature of his work, is it a surprise to anyone that Neil LaBute will ignore classic protocol and respond to his harshest critics?
Apparently he's done just that, taking on David Cote from Time Out New York, who has given LaBute many reasons to be unhappy with his latest review. Cote's parting words for LaBute:
Neil LaBute, not smiling.
"Having authored a couple dozen plays and adaptations, and scads of one-acts, LaBute has abundant technique (he turns out fresh, highly actable dialogue by the yard), but he doesn’t have much to say. That void doesn’t stop his long-winded, boorish creations from yelling, simpering, insulting and apologizing. A wish for the future: Reasons to Be Silent."
I was at the theater the same evening as Cote, so I know for a fact we didn't see different performances. And I have no problem with Cote not liking the play, but the snarky nature of his criticism can irk.
It certainly got to LaBute, who was the first to comment on the review. The Internet actually let artists respond to their public reviewers, but still, at least in the USA (England has more of this fun going on), it is rare to see an artist return the volley.
Here's LaBute, mostly eschewing capitals, consistent with the title of his play: "david: actually i have taught writing courses at various universities and workshops and my lesson plan invariably begins by having students read the collected works of George Steiner, who was clever enough to remind us that 'a critic casts a eunuch's shadow.' some shadows, of course, are more portly than others but their effect on mankind is basically the same. brief and passing. keep enjoying the free tickets while they last. nl"
Cote's words clearly spread quickly around the Lucille Lortel, because the show's sound designer, Robert Kaplowitz, also had a response for Cote, one far more eloquent and questioning. (Full disclosure: I was fortunate enough to have Kaplowitz do the sound design for one of my plays Off-Broadway, and the man is not only a great talent but also incredibly observant. He's full of ideas, and he's a Tony winner for a reason.)
A tidbit from Kaplowitz: "If you can only offer highly quotable, glib dismissals of a writer whose style offends you, how are you any more helpful than a child insisting we all buy vanilla ice cream, because that's the only flavor he likes?"
Most working playwrights will inevitably experience dismissal from critics. I certainly have, and often at surprising times and in unexpected ways. It ain't fun. But what fills me with happiness are not the barbs being tossed around but the fact that the artists at hand actually have the opportunity to respond to criticism they find questionable.
Reasons to be Happy to Return to the Theater
It helps to have "reasons to be pretty" fresh on the brain when you enter the theater to see "reasons to be happy", but it's not totally necessary. (I went in to the play not realizing it was a sequel.) The cast is very good, but the standout, surprisingly, is Leslie Bibb, who plays a character who's mostly nice and sincere, and those are usually the dullest on stage. She is a unique creation for playwright Neil LaBute: uncynical, kind, and worthy of love.
Clemson is a Character
New play that's opened Off-Broadway is a behind-the-scenes look at a television reality show about addiction, and in this case, the addict is named Clemson, and yep, this play is set in a trailer home in South Carolina. I have no idea whether or not the playwright is a Gamecock fan, but I know this play is now a must-see for me. As for the review, as this reality show ("Rehabilitation") is clearly modeled on "Intervention", it's too bad the critic hasn't ever seen the obvious inspiration for this play.
