This is according to BWW and I hope it turns out to be a false report. The last revival was so perfect and only was a few seasons ago! Why would you ever want to try to compete with the memory of Cherry Jones' performance?
Also, and I swear I'm not Celia Keenan-Bolger's publicist, but the press release says she is a two-time Tony nominee, and she is actually a THREE-time nominee (Spelling Bee, Peter and the Starcatcher and Glass Menagerie).
Marie: Don't be in such a hurry about that pretty little chippy in Frisco.
Tony: Eh, she's a no chip!
I'll start the "is this really necessary?" conga line. I saw Ms. Field do the play in D.C. She was wonderful. The production was wonderful. THAT production should have been the one on Broadway in 2005, not the Leveaux-helmed nightmare with the miscast Jessica Lange.
That said, we've since had two very solid productions of this play in New York: the very fine Off-Broadway production from Roundabout (with Judith Ivey's perfect Amanda) and the acclaimed 2013 Broadway revival. This play is a classic, but is it so loved that audiences are dying to see it for the fourth time inside a decade?
I would love to see Field back on the New York stage, but can it be in something that isn't produced quite so often?
As I said in the thread I posted, I agree that this is kinda weird, consider how the last revival was so recent and so critically acclaimed.
I also seem to recall reading here that Sam Gold's track record with revivals is not considered great. I can only speak for myself after seeing The Real Thing, which I didn't love.
It would fit a pattern. A tv/movie star wants to come for a few months get a Tony and leave. There are those out there who feel the need to see every production of a show with every actor in it.Cherry Jones performance will never be topped so why bother. Field is talented but a revival after 2 years is beyond silly.
If the last revival hadn't just happened I would probably welcome this with open arms. Big Sam Gold fan here myself, any group of actors is going to have a hard time competing with the quartet they assembled for the Tiffany revival. The set design and lighting were perfect and little touches like Celia coming out of the couch were so magical that I can't imagine not being disappointed without a greater passage of time.
Marie: Don't be in such a hurry about that pretty little chippy in Frisco.
Tony: Eh, she's a no chip!
Why not other Williams works rarely revived? Surely, there has to be something else she could do. Doubt this would succeed but wish them luck if they try. Maybe we can hope they wait 3 years before reviving it again.
Now we are getting somewhere. Believe the last one I saw was with Mercedes Reuhl . Pardon the spelling and whatever happened to her. She seemed to do a Barbara Harris on us.
Another revival needed is Sweet Bird Of Youth. Many only know it by the movie and we need to see a non sanitized version of it.
Williamstown Theatre Festival is doing a new production of The Rose Tattoo this summer with Marisa Tomei. Considering several of their recent productions have moved to New York, that might be a possibility. David Cromer tried to get a production of Sweet Bird of Youth off the ground in New York for years, with Nicole Kidman, but nothing came of it. Eventually he staged the play in Chicago with Diane Lane. It was a good production that was Broadway caliber, and there was talk of moving it to New York, but negotiations broke off at some point.
Mr. Roxy, you asked why so many of Williams' plays are rarely revived. The simple reason is that aside from the big three (Menagerie, Streetcar, and Cat), many of them aren't great. Suddenly Last Summer gets done quite a bit, largely because it's short and offers two juicy female roles. Rose Tattoo or Sweet Bird are both good plays, but they really need compelling stars in the leading roles. The rest of the Williams' catalog is very hit or miss.
If Sally Field wants to come to Broadway and the only play she's interested in doing in The Glass Menagerie, someone will put up the money for it. That's the simple fact. And, no, many of Williams' late career plays are not very good. I can't imagine there are many people dying to spend an evening with The Milk Train Doesn't Stop Here Anymore or In the Bar of the Tokyo Hotel.
"Also, and I swear I'm not Celia Keenan-Bolger's publicist, but the press release says she is a two-time Tony nominee, and she is actually a THREE-time nominee (Spelling Bee, Peter and the Starcatcher and Glass Menagerie)."
It drives me crazy too. She earned all three of those Tony nominations!
My first thought when I read this was "why?" The John Tiffany revival was beautiful and basically redefined the work; it certainly made me love the play, which I had previously thought was sort of dusty and boring. There's no real reason to bring this play back to New York so soon after we had a great revival with stellar performances.
no. We just had probably one of the best possible productions of this show on Broadway three years ago. No need for this again.
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.
To everyone who minded this coming back after 3 years, let me ask - is 4 years any better? I'm personally very excited, but I didn't see the 2013 production.
Caption: Every so often there was a rare moment of perfect balance when I soared above him.
I didn't see the last revival. I fact, I have never seen this. So count me as one who is very excited for this. I have tickets for May. I love ...Sally Field.