Nutley little theatre oleanna cast12/16/2023 ![]() ![]() NLT�s opening membership meeting of the new season, on Friday, Sept. Marisa Robertazzi is the set designer, and Jessie Rayot is costumer. The cast includes Eric Wdowiak, Frank Blaeuer, Gerry Kirschbaum, Dan Reed, Kathryn Risi, Jennifer Wilson, Jim Simpson, Anne Kenny Simpson, Scott Guzzo, Janis Wolfe, Natalie Arndt, Josh Wolfe, Pat Little, Fred Denneh, and Robert Verbrugge. This relationship begins as friendship and ends with the murder of Becket by Henry�s henchmen at the Cathedral of Canterbury. �Becket, or The Honor of God,� by Jean Anouilh, tells the story of the troubled relationship between Thomas � Becket and Henry Plantagenet, known to history as King Henry II of England. The opening night performance of �Becket� is for the benefit of Nutley Family Service Bureau. This is a new event introduced by NLT in its 75th season: for a $22 ticket price on the second performance of each production, patrons may enjoy after-show refreshments and behind-the-scenes discussion with the cast. 11, with the classic, Tony Award-winning drama, �Becket,� at the NLT Barn, 47 Erie Place, Nutley.Įvening performances of �Becket� will be on Sept. Nutley Little Theatre will open its 75th Anniversary Season on Friday, Sept. Production companies: Jeffrey Finn, Arlene Scanlan, Jed Bernstein, Ken Davenport, Carla Emil, Ergo Entertainment, Harbor Entertainment, Elie Hirschfeld, Rachel Hirschfeld, Hop Theatricals, Brian Fenty/Martha H. - "Becket" Nutley Little Theatre Forum It’s a smart move on the part of the producers, as these sessions are likely to prove far more involving than the contrived drama that precedes them. Many of the Broadway performances are being followed by a “Talk-Back Series” featuring audience debates moderated by the likes of David Dinkins, Montel Williams and various legal, political and journalism figures. But he also has a tendency to overdo the character’s mannerisms, and swallows his words so much that he is often difficult to understand. ![]() Pullman is very effective, bringing a neurotic intensity to his performance that evens the playing field somewhat. But the character is still nearly impossible to play. Stiles - who previously played the role in a 2004 London production - manages to find more shadings in the role than Rebecca Pidgeon did in the original. But its provocative themes are undercut by its ill-shaped characterizations (particularly in the case of Carol, who comes across like a robotic banshee-cue debate) and less than credible situations (Would John really keep inviting Carol back to his office for private meetings, and why would she agree? And why does he keep halting these crucial encounters to take endless phone calls?). ![]() “Oleanna” is clearly the sort of play meant to provoke argument, and in that measure it succeeds. John, desperate to retain his tenure track, attempts to mollify her but only makes the situation far, far worse. Sure enough, in the next scene, it becomes apparent that Carol has brought her professor up on charges that include, ridiculously enough, “attempted rape.” Being supported by a feminist support group, she now uses the sort of politically correct verbiage that feels obviously coached. And Carol, failing to grasp the meanings of such words as “paradigm,” becomes increasingly belligerent and combative.īut it is when John thoughtlessly indulges in sexually provocative language to make a point and at one point grabs Carol by the shoulder to prevent her from leaving in a huff that one begins to suspect that trouble is afoot. John, constantly halting the conversation to take phone calls relating to his new house purchase and various other topics, becomes tongue-tied and fumbling in his efforts to reach his student. But the two characters - speaking in an extreme version of the playwright’s clipped, elliptical and repetitive style - are barely able to get through to each other.Į! News Personality Adam Havener Signs With Ken Linder & Associates for Representation ![]() In the opening scene of the brief (80 minute) intermission-free work, the pair meet in his office, with John seemingly trying to counsel Carol over her difficulties in his class. It comes across like a Rorschach test with the image already clearly defined.įor this version staged by Doug Hughes, Bill Pullman and Julia Stiles play the incendiary roles of pedantic New England college professor John and his troubled young student Carol. Unfortunately, the current Broadway revival, while demonstrating that the play is timelier is ever, does little to erase the original impression that the playwright is dealing from a stacked deck. At its best, David Mamet’s 1992 play “Oleanna” pushes plenty of buttons concerning viewers’ attitudes towards sexual politics and political correctness. ![]()
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