The Royal Family
To the Cavendish family, a dynasty of celebrity stage actors, the American theater isn't merely a profession. It's absolutely everything and anything else must be sacrificed, including romance and sanity.
Alas, no one writes plays anymore like "The Royal Family," George S. Kaufman and Edna Ferber's glorious three-act ensemble comedy from 1927 satirizing the Barrymores. John Barrymore, for instance, is portrayed as the womanizing and reckless Tony Cavendish, and diva Ethel Barrymore is now Julie Cavendish.
As soon as the red curtain rises on its upscale two-story living room set, which is overcrowded with show posters, paintings of relatives, armor and flowers, you feel immediately transported into the golden age of Broadway comedy.
Rosemary Harris is perfectly cast as the aging, regal matriarch Fanny, who supposedly hasn't missed a performance in 63 years, bursting with life in spite of her declining health.
Every other member of the Cavendish character is childish, egotistical and insecure, creating a melodious cacophony of overacting.
Jan Maxwell, who plays Fanny's daughter Julie, triumphs in a breakdown scene where she finally responds to pressure from the family by falling to the floor and renouncing the theater, only to panic when she realizes that she is about to miss her evening performance.
John Glover is relentlessly desperate as Fanny's brother Herbert, who pathetically yearns to get back into the spotlight, and Ana Gasteyer is unashamedly silly as his half-witted wife Kitty.
Earlier this week, comedian Tony Roberts, who plays the manipulative but warm-hearted theatrical agent Oscar Wolfe, suffered a minor seizure during a matinee. At my press performance on Wednesday night, his role was played by understudy Anthony Newfield. Reports indicate that Roberts returned to the production on its Thursday night opening performance.
It's worth noting that there's more to "The Royal Family" than just exaggerated comedy. It accurately depicts a period of transition for the American theater, just before the cinema gained power. Luckily, Doug Hughes' production has a firm hold on both the play's humor and heart.
Samuel J. Friedman Theater, 261 W. 47th St., 212-239-6200, mtc-nyc.org. Through Nov. 29.
Alas, no one writes plays anymore like "The Royal Family," George S. Kaufman and Edna Ferber's glorious three-act ensemble comedy from 1927 satirizing the Barrymores. John Barrymore, for instance, is portrayed as the womanizing and reckless Tony Cavendish, and diva Ethel Barrymore is now Julie Cavendish.
As soon as the red curtain rises on its upscale two-story living room set, which is overcrowded with show posters, paintings of relatives, armor and flowers, you feel immediately transported into the golden age of Broadway comedy.
Rosemary Harris is perfectly cast as the aging, regal matriarch Fanny, who supposedly hasn't missed a performance in 63 years, bursting with life in spite of her declining health.
Every other member of the Cavendish character is childish, egotistical and insecure, creating a melodious cacophony of overacting.
Jan Maxwell, who plays Fanny's daughter Julie, triumphs in a breakdown scene where she finally responds to pressure from the family by falling to the floor and renouncing the theater, only to panic when she realizes that she is about to miss her evening performance.
John Glover is relentlessly desperate as Fanny's brother Herbert, who pathetically yearns to get back into the spotlight, and Ana Gasteyer is unashamedly silly as his half-witted wife Kitty.
Earlier this week, comedian Tony Roberts, who plays the manipulative but warm-hearted theatrical agent Oscar Wolfe, suffered a minor seizure during a matinee. At my press performance on Wednesday night, his role was played by understudy Anthony Newfield. Reports indicate that Roberts returned to the production on its Thursday night opening performance.
It's worth noting that there's more to "The Royal Family" than just exaggerated comedy. It accurately depicts a period of transition for the American theater, just before the cinema gained power. Luckily, Doug Hughes' production has a firm hold on both the play's humor and heart.
Samuel J. Friedman Theater, 261 W. 47th St., 212-239-6200, mtc-nyc.org. Through Nov. 29.
posted by Matt Windman @ 11:28 PM
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