Mullingar doesn't even start previews until 1/3 so I'm not sure anyone can give an opinion there. I would suggest The Glass Menagerie as well. It's a good companion piece to Fun Home.
"Pardon my prior Mcfee slip. I know how to spell her name. I just don't know how to type it." -Talulah
debating between THE GLASS MENAGERIE even though I just saw a production here in LA a few seasons back - although I hear from everyone that this production is fantastic - and how often does one get to see Cherry Jones on stage.
Question - I am a huge Mark Rylance fan but maybe not The Bard's biggest fan....will the comedy and performance of Rylance in TWELFTH NIGHT help my occasional adversion to iambic pentameter?
"...and how often does one get to see Cherry Jones on stage."
May 22 - Aug 10, 2014 in When We Were Young and Unafraid.
When asked for her opinion about what else to see in NY, an older woman working as an usher at the Laura Pels in November when I saw Bad Jews said of this production of Menagerie that it has a gorgeous set, but that you can really see Jones "working." After that she said rather dismissively pointing towards the stage, "Of course you're in for about an hour and a half of that now."
I actually liked Bad Jews a great deal, and would recommend that if it were still playing in January.
BAD JEWS is closing before New Year's, sadly for this thread.
MENAGERIE is thoroughly seconded here, and honestly Cherry Jones (while great) was the actor in that fabulous quartet who impressed me the least. Maybe I expected so much from her to begin with, but the others (Celia especially!) absolutely floored me. Best ensemble in a drama on Broadway this season so far, and up there with last year's VIRGINIA WOOLF.
TWELFTH NIGHT I have yet to see, though I have seen RICHARD III and previous works by the Globe before and they are transcendent. Not to mention, TWELFTH NIGHT is my favorite of Shakespeare's comedies, and Rylance (and Stephen Fry!) are huge draws, I must get to it eventually. But if you are Shakespeare-averse, I honestly can think of no better way to overcome that condition than seeing it as it was written with a stunningly confident troupe of performers like Globe provides. It is a blessing, their work, to trust the text so much and we all reap the bountiful rewards.
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.