{"id":9761,"date":"2019-03-13T19:08:23","date_gmt":"2019-03-13T19:08:23","guid":{"rendered":"https:\/\/laughfrodisiac.com\/\/?p=9761"},"modified":"2019-04-16T12:36:55","modified_gmt":"2019-04-16T12:36:55","slug":"the-american-clock-at-londons-old-vic-what-was-the-depression-like-depressing","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2019\/03\/13\/the-american-clock-at-londons-old-vic-what-was-the-depression-like-depressing\/","title":{"rendered":"The American Clock at London\u2019s Old Vic: What was the Depression Like? Depressing."},"content":{"rendered":"\n
\u200bIt\u2019s Theatre Wednesday! Aren\u2019t we lucky! It\u2019s the height of the season and we have a lot of shows to talk about so they\u2019re coming at you fast and furious. Today\u2019s show is The American Clock, playing at the Old Vic until March 30.<\/em> \u00a0 Not only was he married to Marilyn Monroe, Arthur Miller wrote some plays, babies! We\u2019ll see another one of his celebrated works later this season (you\u2019ll have to wait to see which one) but first up is his vaudevillian look at the Great Depression, his play The American Clock. Turns out, Miller and I have (had, RIP) a lot in common: We\u2019re of Polish Jewish descent (all for him, part for me), we both went to Big 10 schools for undergrad (and I bet neither of us had to bribe our way in!), and I\u2019m guessing we both love theatre. Best of all, we both can be guilty of writing too much and not editing the final work enough! This show was HELLA LONG. I would never complain about running times if they use the time wisely; I have a great attention span (although I did just have the urge to shouttype SQUIRREL). But nothing bothers me more than when shows should have been edited and would have been much better off had they been. Like that sentence! The first act of The American Clock is an hour and a half, the second is just over an hour, so with the interval it\u2019s three hours of your day. Given what works in this play and what doesn\u2019t, they could have easily cut an hour. A whole hour! That\u2019s why I\u2019m opening this by talking about length. There were some moments of brilliance, but they would have shone much brighter had they not been sandwiched by dullness. Surprisingly, I haven\u2019t had a great experience at the Old Vic since Groundhog Day (the show, not the day). And the last time I was there, the show (Sylvia) suffered a similar problem (I think that one was like 3 \u00bd hours and had fewer moments of brilliance). I wish there was a required Editor job in the theatre, although with them being cut from journalism I guess that\u2019s a pipe dream. Anyway, when you enter the Old Vic right now, you\u2019re first shocked by the mess. It\u2019s under renovations \u2013 a much needed development given the horrible toilet situation (only in the basement level!) \u2013 but instead of closing up shop, they are making do with a construction site vibe. And good for them, I guess, the show must go on and all that. It\u2019s a little rough for winter, though, given that now the only toilets are outside (like big concert venue portables (or as Jeopardy would call them Potent Portables (pray for Trebek))) at street level so kind of crazy. Oh man, I\u2019m off on a toilet tangent again! as I do! Luckily, the production onstage is the smooth, professional opposite of the current look of the theatre. With one of my favorite directors, Rachel Chavkin, at the helm, it\u2019s a good looking production, although there seems to be no reason for it to be in the round (a way overused ploy recently). \u00a0 Early on, the show seems to really click, due to a few important facts: The narrator is featured heavily; the setting of the Depression about to dawn is established; the set, especially the chalkboard stock lists and high ladders, seems well used. The narrator is a smooth and fantastic Clarke Peters, who I am ashamed to say I knew best as the actor in the Julia Roberts space movie-within-a-movie in \u201cNotting Hill\u201d, when Hugh Grant is pretending to be a journalist from Horse & Hound and he asks Clarke if there were any bits of the movie he especially enjoyed filming and Clarke says to Hugh \u201cWhy don\u2019t you tell me the bits you liked and I\u2019ll tell you if I enjoyed making them\u201d which is like so something a tired actor would snarkily say to a journalist at the tail end of a junket. Anyway, Giles Terrera, the original Burr of London\u2019s production of Hamilton, was supposed to play this role, but at the last minute he pulled out (so he won\u2019t get preeeeeeeeeeeeeeeeeeegnant) (no it was like for a family thing and I hope all is well) and Clarke swapped in. I honestly can\u2019t imagine Terrera in this role, as it was perfect for Clarke. When he was onstage, the show worked, if only for his charisma and command of the stage and your attention. After the first few scenes, the narrator role ended up being too small for that kind of power Clarke has, and the show falls the flattest when he isn\u2019t leading the brigade. \u00a0 But then the flat moments outshine the great moments, mainly because there is no real chance for emotional connection with the characters. Since it\u2019s a series of Depression-era vignettes, showing how far-reaching the personals traumas were, you don\u2019t get to really live with any of the characters enough to care as deeply as you want to in a play. The only characters you follow and return to are the mother, father, and son of the Baum family. Presumably, since you see a lot of them, you\u2019d obtain the necessary emotional connection through them. However, in a rare misfire from Chavkin, the Baum family was triple-cast, meaning three different sets of actors played those three characters, rotating scene by scene. Although the sentiment \u2013 showing that the Depression was Depressing for an endless stream of people, of all ethnicities and walks of life \u2013 is understandable, the effect was that we didn\u2019t get to connect with anyone as we should have. As a result, the action feels extra removed and eventually extra dull. Only a few brilliant moments come when Clarke isn\u2019t onstage, like when Ewan Wardrop appears as a tap-dancing CEO about to quit his job (seriously, in this economy?), and when Golda Rosheuvel (not a little old Jewish lady buying the last babka! I know!) appears both as a communist activist and a forking BOOMING-voiced singer. For a non-musical, there are a lot of great musical moments like these producing the magic, perhaps because that’s what Chavkin’s best at. But the vignettes continuously disappoint, perhaps because of the missing link of the Baum family, perhaps because a lot of them are simply unnecessary. The best one comes thanks to the talents of Abdul Salis, who I also only knew because he was also in the movie \u201cNotting Hill\u201d but when it was \u201cLove Actually\u201d, as Tony, the friend of Colin (Colin being the bellend who goes to America and is the worst character and storyline in the whole movie). Abdul plays a caf\u00e9 owner in Mississippi, who, as a black man, can do little to protest the exploitative actions of the local sheriff. Abdul gets the biggest line in the whole thing, when he comments that \u201cThe main thing about the Depression is that it finally hit the white people.\u201d When he said that line, a black lady across the way from me clapped and shouted \u2018yes!\u2019 and nudged the white girl sitting next to her and pointed at the stage and honestly that was the best moment of my week. \u00a0 I would have loved more of Abdul\u2019s caf\u00e9 owner, seeing what happened to him, following him long enough to forge a connection, but that wasn\u2019t going to happen. And then there was just too much filler and fat. I don\u2019t understand the entire near-end scene with all the ladies playing cards. It was the kind of moment in a play where I\u2019d almost stand up and say \u201coh THIS is the bad place!\u201d Why was that in there? And why did they have Francesca Mills play EVERY SINGLE FEMALE CHARACTER? Flora Dawson, another actor onstage in the ensemble, had literally one line, but Mills, I just checked her bio, played SEVEN different named characters in this? I don\u2019t get ittttt. It is great, however, that Mills was cast (she is a little person), in this theatre town that desperately needs more diversity in casting. Chavkin\u2019s productions continue to be the most diverse in the game, across ethnicities, body types, everything. She\u2019s really paying attention to the changes that need to happen when there\u2019s no need for cookie-cutter interchangeable chorus girls. \u00a0 Overall, it\u2019s a decent play, with some great performances (and yes Clarke Peters was my favorite but his run is now over; his role is played by Sule Rimi) but there were just too many overly long, often dull moments. Fortunately, at the very end the power of the stories came together a bit, when they reminded us that this wasn\u2019t just a wee look at the past; it was a warning for what\u2019s likely to hit us soon with Brexit (slash fill-in-your-country\u2019s-turmoil across the world). A shame they saved the majority of the emotional heft for the last minute, but that is what you walk away remembering. Like I said, Depressing! \u00a0 \u00a0 INFORMATION<\/strong> We were notified a few weeks before the show that our seats had been relocated, possibly due to the change in staging or the construction. I was now in Row H in the center, which sounded like a claustrophobic frequent pee-er\u2019s nightmare (I always need aisles) but it ended up being the front row on the main side of the stalls (the good side, right by the exit to the outdoor toilets) and there is HELLA legroom in that front row so it didn\u2019t matter that it was central, I could easily run past the rest of my row with my arms fully extended to the sides. It ended up being an amazing Best Seat Ever situation, except for the jackass lady behind us who refused to shut off her phone (and we weren\u2019t even the ones who asked her to turn it off! Other people cared for once too! Yay other people who care!). \u00a0 Because the whole outdoor loo sitch is inconvenient, there are two staff workers outside them with buckets of candy, which is hilarious and adorable. No vegan candy but still, I love that they tried to be nice.\u00a0<\/td><\/tr><\/tbody><\/table>\n","protected":false},"excerpt":{"rendered":" \u200bIt\u2019s Theatre Wednesday! Aren\u2019t we lucky! It\u2019s the height of the season and we have a lot of shows to talk about so they\u2019re coming at […]<\/p>\n","protected":false},"author":2,"featured_media":9762,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[147],"tags":[],"class_list":["post-9761","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment"],"yoast_head":"\n |