January 19, 2023
The Yucatan Adventure Continues: Vegan Food, Hotels, Beaches, & More Meridaby Randi / September 10, 2019 It’s Theatre Thursday! Today’s show is Preludes at the Southwark Playhouse until October 12.
If you hear that a play is a “musical fantasia set in the hypnotized mind of Sergei Rachmaninoff”, you’d be forgiven for thinking that sounds forking bonkers. It is forking bonkers. But it’s also at times brilliant, and like other work from creator Dave Malloy, it’s challenging in a fantastic way. Beginning what we are calling our Autumn of Dave Malloy here on laughfrodisiac (we have lots of his shows lined up!), the new production of Preludes at the Southwark Playhouse tests the bounds of musical theatre’s abilities. If anyone still wrongly assumed that musical theatre could only or does only tell certain kinds of stories in certain kinds of ways, Preludes will show them that this spectacular art form has no limits.
Now, yes, it does take place in the hypnotized mind of Sergei Rachmaninoff, the Russian composer famous for his unbelievably difficult and intricate piano pieces, including the stark raving genius of the title piece. The brilliance of that piece haunts the composer as portrayed in this show, as like every artist he fears his creative output peaked with that, the glorious piece he banged out at 19 years old. In fact, ‘Serg’ hasn’t been able to write for three years when we meet him and his supportive fiancee/first cousin (eeeeek) Natalya, after the disastrous performance of his first concerto thanks to a drunk conductor (why the composer has to suffer and not the conductor is a shame of the universe).
In order to get his shit together, Serg starts seeing a hypnotherapist. Then the line between what is happening in Serg’s life and what he and his doctor are working through in his hypnotized brain starts to blur, just as the distinction between what music is original Rachmaninoff and what is Dave Malloy’s starts to blur, in a fantastic method of musical storytelling. The most powerful and successful parts of the show combine the inner workings of Serg’s mental processes with his anguish and with the genius of the music, like when Serg explains in a growing ranting monologue how he wrote Preludes, as his pianist counterpart (a separate actor/pianist, not only a necessary choice but a brilliant one, showing how Serg feels divorced from his own self) plays a mesmerizing almost violent rendition of Preludes. This scene, using Rachmaninoff’s own music to tell his story, best captures what this show aims to achieve and best shows what Malloy is capable of.
As with Malloy’s other work, the risk of being the composer/lyricist/book writer/all around creator/we love you and falling into moments of over-indulgence is high, and not avoided here. As usual, Malloy makes those moments of genius count because they stand out, but also because they come against a backdrop of imperfection. His work is challenging, weird, strikingly different, and that makes him such an exciting composer. But there are a few moments that feel unedited, like the 2x too long Act II opener “Loop” performed by Serg’s opera singer friend Chaliapin (a great performance and a perfectly Malloyesque scene, but just 2x too long) and the 3x too long hypnotherapist’s walk through the mountains towards the end. Malloy’s work shines in its imperfections and its challenging nature, but these moments could have had more impact if they were more efficient.
The performances are mostly great though, with Keith Ramsay giving a gripping star turn, all nervous energy and anxiety and physical tics and uneasy laughter (though a little too much of that) to become an all-consuming embodiment of the composer’s neuroses and self-doubt. It’s a remarkable performance. Georgia Louise’s Natalya shines as one of the best vocalists heard on stage in recent months, and it helps that she’s given the chance to show off in the Act I closer “Natalya”, the only classic musical theatre song in the score (and very reminiscent of “No One Else” from Malloy’s Natasha, Pierre, and the Great Comet of 1812, which full disclosure is one of my Best Show Evers). The only questionable performance issue came from the portrayal of the Czar – it was funny to give him a Tony Soprano accent but aside from the initial laughter there wasn’t actually a compelling reason for it.
Overall, Preludes is an exciting new-to-London show (it premiered off-Broadway in 2015) that tests the bounds of the genre and should inspire other creators to do the same, something London’s musical theatre scene needs. Malloy has built a fantastical, strange, wild rhapsody of the creative process using music old and new and showing that the struggle is timeless, which seems fitting as this composer of fantastical, strange, wild works finally starts to get the acclaim he deserves.
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“My Name is Lucy Barton”: Laura Linney Makes a Stunning London Debut
It’s Theatre Thursday! Today we are talking about “My Name is Lucy Barton” at the Bridge Theatre in London, playing until June 23.
The best one-man shows are those that make you forget that only one person is up on that stage. It takes an enormous talent to fill a theatre so completely that you feel the force of a whole company entertaining you with their stories. The last time (maybe only other time?) I felt like a stage was filled with several great entertainers instead of just one was in Michael Urie’s brilliant one-man show Buyer and Cellar. Now the wonderful Laura Linney manages to achieve a similar result in The Bridge Theatre’s “My Name is Lucy Barton”, in which she tells her story so vividly and describes other people so keenly that it feels as effective as a play with a big ensemble. She distracts you from how hard she’s working up there with how realistic her storytelling is. Directed by Richard Eyre, this moving tale of one woman’s struggles to come to terms with her past while recognizing her internal pain is at times funny, depressing, and surprisingly universal in its representation of the humanity of loneliness.
The best one-man shows are those that make you forget that only one person is up on that stage. It takes an enormous talent to fill a theatre so completely that you feel the force of a whole company entertaining you with their stories. The last time (maybe only other time?) I felt like a stage was filled with several great entertainers instead of just one was in Michael Urie’s brilliant one-man show Buyer and Cellar. Now the wonderful Laura Linney manages to achieve a similar result in The Bridge Theatre’s “My Name is Lucy Barton”, in which she tells her story so vividly and describes other people so keenly that it feels as effective as a play with a big ensemble. She distracts you from how hard she’s working up there with how realistic her storytelling is. Directed by Richard Eyre, this moving tale of one woman’s struggles to come to terms with her past while recognizing her internal pain is at times funny, depressing, and surprisingly universal in its representation of the humanity of loneliness.
In what’s pretty much a 90-minute monologue that at times will make you think holy hell how does anyone memorize a thing like this and also isn’t she so thirsty I’m almost done my water and I’m just sitting here, Linney plays Lucy Barton, the character from Elizabeth Strout’s 2016 (damn they worked fast) novel of the same name, adapted for this stage by Rona Munro. Although it’s a work of fiction, the character of Lucy is so fleshed out and so genuine that it seems like a true story. With the lights up, Lucy in her NYC-hospital-chic ensemble tells the audience that she was once in the hospital for nine weeks, away from her husband and her two daughters for all that time. During her hospital stay, her mother surprised her with a visit. The lights go down as she returns to that hospital room to tell us what happened during that reunion with her mother, and what informed their relationship from their difficult past.
At first, I’m watching Linney say interesting words about how sick she was (if I recall correctly, they never really say what the issue was) and how her relationship with her mother was rough to say the least, but after about 10 or so minutes, Linney became Lucy Barton, and although I was still staring at Linney’s amazing face dimples (definitely one of my top five favorite face dimples), I was watching Lucy tell her story. She told her story of her hospital stay while interweaving details from her past, her terribly rough childhood out in the sticks of Illinois with her father, who had PTSD from the war, her cold mother, her siblings who it seems she never bonded with, and all the abuse she suffered, even as a young child who couldn’t understand why she was being punished. Her storytelling is peppered with thoughts about how hard it was to be so lonely in that hospital room, and then her loneliness becomes the driving theme of her entire existence, developed in her pitiful childhood.
At first, I’m watching Linney say interesting words about how sick she was (if I recall correctly, they never really say what the issue was) and how her relationship with her mother was rough to say the least, but after about 10 or so minutes, Linney became Lucy Barton, and although I was still staring at Linney’s amazing face dimples (definitely one of my top five favorite face dimples), I was watching Lucy tell her story. She told her story of her hospital stay while interweaving details from her past, her terribly rough childhood out in the sticks of Illinois with her father, who had PTSD from the war, her cold mother, her siblings who it seems she never bonded with, and all the abuse she suffered, even as a young child who couldn’t understand why she was being punished. Her storytelling is peppered with thoughts about how hard it was to be so lonely in that hospital room, and then her loneliness becomes the driving theme of her entire existence, developed in her pitiful childhood.
Honestly, I just read Orphan Train this week and I’m getting the horrible childhood details from that book confused with Lucy’s, that’s how bad it was. We learn that as a young girl her parents would lock her in her dad’s truck sometimes at night, and she would scream for them to let her out. Even when a snake was in there with her, they wouldn’t listen to her screams. With that kind of detail, you can’t help but despise her mother and understand how big a deal it was that she visited her sick daughter, coming all the way to New York City when she is scared of traveling, and how anxious Lucy was about it even though a large part of her was happy to have the comfort of family. I mean it’s the least she could do. Linney’s, or Lucy’s, imitations of the mother were superb, with that thick Chicago-area accent and the too accurate recounting of how gossipy she is. I don’t remember the mother’s name but I remember her tales of her frenemy Cathy Neely, because of how often the mother talked about this woman, spitting out her name with pure venom and those exaggerated mid-West vowels. I LOVED how at one point in Lucy’s mother’s chitchat including a tidbit about a girl Mary who got married and the vowel she used for Mary and marry was the same, which is such a precise dialect detail that I almost stood up and shouted GIVE HER AND HER VOCAL COACH ALL THE AWARDS. I’m kind of obsessed with the Mary/merry/marry dialectical test because as a Philadelphian we are among the few, we happy few, who pronounce all three distinctly. Anyway.
Linney is pitch-perfect as she unfolds the truth behind why Lucy’s relationship with her mother is so strained, and why her loneliness feels like the main disease she’s suffering from, more debilitating and hopeless than whatever has been keeping her in the hospital for months. It’s such a full-bodied recounting that it feels like all the characters she mentions are up there with her, shoring up her tale. I was especially struck by the idea of her neighbor and friend Jeremy, and when Lucy spoke of a man dying from AIDS that she saw in the hospital, I immediately thought of him. When she carried on with her story, I brushed away the thought, but at the end her heartbreaking final thoughts circle back in what I thought was the most moving part of the story. She talks about what it was like to reconnect, or try to reconnect, with her estranged mother after all these years, and about her childhood and all the experiences that shaped her, but her story was mostly confiding in us about how lonely she was, no matter what she tried to do about it.
It’s really remarkable, and a testament to the skill of the writers as well as to Linney’s acting, how much the audience feels it knows Lucy and how much we learn about her life, simply by listening to her tell us about her hospital stay, something that seems so mundane and uninteresting. At the end, she again comes to the most downstage point and looks directly at us to share her most private thoughts and pains, pounding on her chest in one of the most powerful theatre moments. You’re so invested in Lucy’s emotional distress that you almost forget you’re watching Linney, as she makes a compelling London debut and receives a much-deserved standing ovation.
INFORMATION
The Bridge Theatre put in Linney’s programme bio that she was in “Teenage Mutant Ninja Turtles” but not that she was in “Dave”, the BEST MOVIE EVER and her character’s name was RANDI and she wasn’t a gross man so like FIX IT, BRIDGE.
Also fix your late seating policy. It was nonsense how many people were seated 20 minutes into the show. Just stop allowing late seating, all theatres. If someone is late and it’s not their fault let them exchange their tickets. I mean people who missed 20 minutes missed a LOT of information; it’s not even worth seeing it. And it was so distracting to everyone else.
STAGEDOOR
The stagedoor is around the side of the complex closest to Tower Bridge, past the Ivy restaurant and then next to the By Chloe that’s there. We only waited 10-15 minutes because it was disheartening to see how many Londoners were still supporting that restaurant’s shitty owners. Anyway, the people working inside said she isn’t consistent about which exit she uses, and I guess they couldn’t find out if she was planning to come out that way, and I was cold, so we left.
“Three Tall Women” on Broadway: A Magnificent Revival for the Ages
It’s…not Theatre Thursday, but this production closes on Broadway today and I didn’t realize.
Joe Mantello is a magician. Not a director, not an actor, a magician. Everything I’ve seen him do, whether it be acting or directing (okay, he is an actor and a director), is flawless, and his direction of the latest revival of “Three Tall Women” is that again, plus all the other superlatives you could think of. Of course, Joey M had the benefit of directing some of the best actresses of the modern age, as well as the rich source material of this challenging, thrilling play. I was unfamiliar with this particular Edward Albee classic, but I am happy to say that it continued the trend of my enjoying and appreciating Albee’s plays, which is a nice change of pace from my reactions to other playwright kings (*cough* Pinter *cough* Mamet*). I bought tickets to TTW superfast because Glenda Jackson, the closest you can get to royalty without being royal, was making her big return to Broadway after her amazing life of winning two Oscars, playing King Lear in London, and…serving in Parliament for more than twenty years. I had to go see the f-ing thing!
Joe Mantello is a magician. Not a director, not an actor, a magician. Everything I’ve seen him do, whether it be acting or directing (okay, he is an actor and a director), is flawless, and his direction of the latest revival of “Three Tall Women” is that again, plus all the other superlatives you could think of. Of course, Joey M had the benefit of directing some of the best actresses of the modern age, as well as the rich source material of this challenging, thrilling play. I was unfamiliar with this particular Edward Albee classic, but I am happy to say that it continued the trend of my enjoying and appreciating Albee’s plays, which is a nice change of pace from my reactions to other playwright kings (*cough* Pinter *cough* Mamet*). I bought tickets to TTW superfast because Glenda Jackson, the closest you can get to royalty without being royal, was making her big return to Broadway after her amazing life of winning two Oscars, playing King Lear in London, and…serving in Parliament for more than twenty years. I had to go see the f-ing thing!
The other Two Tall Women were played by Alison Pill, who I like, and Laurie Metcalf, who I would probably engage in sword fight to protect. I’ve been lucky enough to see her onstage several times and every time, she’s Streeping it up like nothing you ever imagined. Those Steppenwolf actors really know how to make characters come alive. She’s in her Tony-winning element here, hilarious in the first scene and given the meatiest dramatic monologues in the second, and although her Tony was an upset over Denise Gough in “Angels in America”, it was so deserved.
So, this play is Albee’s answer to the question of what goes through your mind when you face the moment of death, and it’s the most unique answer I’ve ever heard. It also deals with the inevitability of fate and how much it sucks to be old and how much you change as you grow old and how funny and heartbreaking Laurie Metcalf can be in the span of a few minutes. Well that last part’s not what the play is about but that’s what happens. The play is about a 92-year-old woman (played by Glenda) who is, well, 92. She old for the earth. But she’s hella fancy, and even though she’s ancient and frail, you can tell she’s rich and still able to exude a touch of the glamour she certainly had in spades years ago. She’s in her well-appointed bedroom with her strong, candid caretaker lady (Metcalf) who has the driest sense of humor and manages to make even her lines about how often the old lady pees the bed hilarious. She says that the lady’s daily doing-so is just her greeting to the day, and her delivery is, like gum, perfection.
These Two Tall Women have their regular routine disrupted by a young lawyer (Alison Pill) from the firm that handles the old lady’s finances. The youngen (the Third Tall Woman) is understandably frustrated, since the lady never returns the documents they send or keeps track of her paperwork. It’s a mess handling her money, and the lawyer grows ever more impatient with her task as the lady repeats hazy memories of her childhood in various ways instead of answering questions. The lawyer’s irritation is with the lady personally and with what happens to the mind of the elderly in general, and Metcalf’s caretaker is irritated by the lawyer’s irritation and she tries to get her to stop fighting them and accept that this is what happens when you get old. The three of them trade barbs amid Glenda’s stories, mainly about her sister and her mother, who, we are told repeatedly except when it is transferred to stories about her father, was ‘strict but fair.’
Glenda is a force in this role, which seems like it was written especially for her. Not only did she win the Tony, she won this year’s Distinguished Performance award from the Drama League, which is my favorite award of the year because only one performer gets it – no male/female, lead/supporting bullshit, ONE performance. And there was no question that she was winning it. Seeing her perform was an honor. Her rapport with Laurie’s straight-talking character is lovely in its candor and kindness, as Laurie helps steer her many stories forward but never by correcting her many mistakes. It’s clear Laurie has dealt with this for a long time and knows it’s best to let Glenda think she remembers her life accurately. The interaction between these two actors is that of masters, and Alison holds her on when thrown in there as well. You’ll notice I’m not using character names – they don’t have them. In the play, they’re listed simply as A, B, and C. Despite being specific women in this first scene, the nameless thing makes sense because they are such archetypes of their ages – the older lady who has been through it all, seen it all, and is getting it all kind of confused, and who demands to be placated by the younger women; the middle-aged woman steeped in the inevitability and effects of aging and thus resigned to the fact that we’re ‘dying from the day we’re born’; and the hotheaded, intolerant youth who thinks she knows more than everyone. In Scene 2 (the play is in two halves but I can’t say Act I or Act II because there’s no intermission, and I had to pee badly but it really was for the best, pacing-wise), the specific-yet-general form of their characters becomes even more meaningful, as they continue to fight about stages of life but with more emotional impact.
At the end of Scene 1, Glenda’s character has a heart attack or a stroke, some kind of serious incident, and the lights go out. After a pause, the lights rise, and Glenda is lying in the bed, which is now turned so her head is closest to us and the whole thing pushed farther away from us upstage, separated from the audience by a plexiglass/mirror barrier. Is she dead? Dying? Her hand flutters a bit, her head moves every now and then, so she’s not dead yet. But then all Three Tall Women – Glenda included – burst into the room. Our side of the room, which looks like it did before, only now we’re on this side of the transparent barrier, so we can all see Glenda, or whoever it is, lying in that bed like a one-sided reflection. They’re all dressed up like they just came from a fancy cocktail party, and much friendlier and more comfortable with each other than they were before. Who ARE these people, I wondered for a minute before it became clear.
Listen, I know I spoil pretty much everything I write about, but the moment in the beginning of Scene 2 when I realized what was happening, I gasped. I had no inkling what the central conceit was, or that there even was one. And I was not familiar with this play at all. Even though this production, this flawless, magical production, is closing today, it’s still a freaking Albee classic so there is a good chance you will get the chance to see it one day. And if you do, and you don’t already know what it’s about, I don’t want to spoil this realization for you because it was astounding. Everything made so much more sense and it was almost overwhelming how brilliantly it all played out. It’s absolute genius that struck me in a way few plays ever are able to.
Of course no set design this year can compare with the actual magic happening at the Harry Potter theatre, but part of me was wishing for this to win the Tony for set design, because that plexiglass barrier is so much more than meets the eye. The barrier between the two versions of that bedroom and what they, and the barrier itself, represent, was clever stage magic of the old school variety. How they managed to get certain things to reflect on themselves wherever the mirror was while others – namely, the three women – did not, I will never understand. And it’s ironic, because that’s all the three women do while in this antechamber version of the room: reflect on themselves. The only thing more astonishing that the central concept and how well it’s reinforced, and the incredibly nuanced expert acting, and the staging, and the directing, and everything, is the very last moment, which thank god is followed by the blackout because it rips you apart with its genius. Similar in nature to the final moment of “Hamilton”, it brings everything about the play together in one simple, sad, sweet act, and I gasped again so hard it was like a scream. So without saying anything more, we can simply say that this production forked me up big time. If I had one play-related wish to make, it would be that this was recorded for the Lincoln Center archives and that they decide to let PBS air it so everyone’s lives can be so enriched.
INFORMATION
I mean it’s closing today. If PBS doesn’t air it, get a NYC library card and then join the waitlist to watch it at Lincoln Center archives. Worth it.
STAGE DOOR
I saw a matinee so only Alison Pill came out. Honestly I don’t know what I’d think of the world if it was one where Glenda Jackson stage-doored.
So, this play is Albee’s answer to the question of what goes through your mind when you face the moment of death, and it’s the most unique answer I’ve ever heard. It also deals with the inevitability of fate and how much it sucks to be old and how much you change as you grow old and how funny and heartbreaking Laurie Metcalf can be in the span of a few minutes. Well that last part’s not what the play is about but that’s what happens. The play is about a 92-year-old woman (played by Glenda) who is, well, 92. She old for the earth. But she’s hella fancy, and even though she’s ancient and frail, you can tell she’s rich and still able to exude a touch of the glamour she certainly had in spades years ago. She’s in her well-appointed bedroom with her strong, candid caretaker lady (Metcalf) who has the driest sense of humor and manages to make even her lines about how often the old lady pees the bed hilarious. She says that the lady’s daily doing-so is just her greeting to the day, and her delivery is, like gum, perfection.
These Two Tall Women have their regular routine disrupted by a young lawyer (Alison Pill) from the firm that handles the old lady’s finances. The youngen (the Third Tall Woman) is understandably frustrated, since the lady never returns the documents they send or keeps track of her paperwork. It’s a mess handling her money, and the lawyer grows ever more impatient with her task as the lady repeats hazy memories of her childhood in various ways instead of answering questions. The lawyer’s irritation is with the lady personally and with what happens to the mind of the elderly in general, and Metcalf’s caretaker is irritated by the lawyer’s irritation and she tries to get her to stop fighting them and accept that this is what happens when you get old. The three of them trade barbs amid Glenda’s stories, mainly about her sister and her mother, who, we are told repeatedly except when it is transferred to stories about her father, was ‘strict but fair.’
Glenda is a force in this role, which seems like it was written especially for her. Not only did she win the Tony, she won this year’s Distinguished Performance award from the Drama League, which is my favorite award of the year because only one performer gets it – no male/female, lead/supporting bullshit, ONE performance. And there was no question that she was winning it. Seeing her perform was an honor. Her rapport with Laurie’s straight-talking character is lovely in its candor and kindness, as Laurie helps steer her many stories forward but never by correcting her many mistakes. It’s clear Laurie has dealt with this for a long time and knows it’s best to let Glenda think she remembers her life accurately. The interaction between these two actors is that of masters, and Alison holds her on when thrown in there as well. You’ll notice I’m not using character names – they don’t have them. In the play, they’re listed simply as A, B, and C. Despite being specific women in this first scene, the nameless thing makes sense because they are such archetypes of their ages – the older lady who has been through it all, seen it all, and is getting it all kind of confused, and who demands to be placated by the younger women; the middle-aged woman steeped in the inevitability and effects of aging and thus resigned to the fact that we’re ‘dying from the day we’re born’; and the hotheaded, intolerant youth who thinks she knows more than everyone. In Scene 2 (the play is in two halves but I can’t say Act I or Act II because there’s no intermission, and I had to pee badly but it really was for the best, pacing-wise), the specific-yet-general form of their characters becomes even more meaningful, as they continue to fight about stages of life but with more emotional impact.
At the end of Scene 1, Glenda’s character has a heart attack or a stroke, some kind of serious incident, and the lights go out. After a pause, the lights rise, and Glenda is lying in the bed, which is now turned so her head is closest to us and the whole thing pushed farther away from us upstage, separated from the audience by a plexiglass/mirror barrier. Is she dead? Dying? Her hand flutters a bit, her head moves every now and then, so she’s not dead yet. But then all Three Tall Women – Glenda included – burst into the room. Our side of the room, which looks like it did before, only now we’re on this side of the transparent barrier, so we can all see Glenda, or whoever it is, lying in that bed like a one-sided reflection. They’re all dressed up like they just came from a fancy cocktail party, and much friendlier and more comfortable with each other than they were before. Who ARE these people, I wondered for a minute before it became clear.
Listen, I know I spoil pretty much everything I write about, but the moment in the beginning of Scene 2 when I realized what was happening, I gasped. I had no inkling what the central conceit was, or that there even was one. And I was not familiar with this play at all. Even though this production, this flawless, magical production, is closing today, it’s still a freaking Albee classic so there is a good chance you will get the chance to see it one day. And if you do, and you don’t already know what it’s about, I don’t want to spoil this realization for you because it was astounding. Everything made so much more sense and it was almost overwhelming how brilliantly it all played out. It’s absolute genius that struck me in a way few plays ever are able to.
Of course no set design this year can compare with the actual magic happening at the Harry Potter theatre, but part of me was wishing for this to win the Tony for set design, because that plexiglass barrier is so much more than meets the eye. The barrier between the two versions of that bedroom and what they, and the barrier itself, represent, was clever stage magic of the old school variety. How they managed to get certain things to reflect on themselves wherever the mirror was while others – namely, the three women – did not, I will never understand. And it’s ironic, because that’s all the three women do while in this antechamber version of the room: reflect on themselves. The only thing more astonishing that the central concept and how well it’s reinforced, and the incredibly nuanced expert acting, and the staging, and the directing, and everything, is the very last moment, which thank god is followed by the blackout because it rips you apart with its genius. Similar in nature to the final moment of “Hamilton”, it brings everything about the play together in one simple, sad, sweet act, and I gasped again so hard it was like a scream. So without saying anything more, we can simply say that this production forked me up big time. If I had one play-related wish to make, it would be that this was recorded for the Lincoln Center archives and that they decide to let PBS air it so everyone’s lives can be so enriched.
INFORMATION
I mean it’s closing today. If PBS doesn’t air it, get a NYC library card and then join the waitlist to watch it at Lincoln Center archives. Worth it.
STAGE DOOR
I saw a matinee so only Alison Pill came out. Honestly I don’t know what I’d think of the world if it was one where Glenda Jackson stage-doored.
