AUGUST: OSAGE COUNTY – First Preview Review (No Spoilers)

[Wanna Be A Foster]

Posted: 10/31/07 at 9:11am

I attended the first preview of AUGUST: OSAGE COUNTY at the Imperial Theatre last night. I really had no idea what to expect from this show. All I knew about it was that it was 3 hours and 20 minutes long. I had not read any of the reviews from the Steppenwolf Chicago production.

The play is divided into three acts, and throughout the evening, the audience is taken on a roller coaster ride of emotions and shifty plot turns. It takes place in a little middle-of-nowhere town out in Oklahoma, and over the three hours and twenty minutes, you get to know quite well eleven members of a dysfunctional, yet very human family, along with their housekeeper, and one of their town acquaintances.

I’m not going to go into many specific plot details, as this is the type of show that gives you one punch (metaphorically and literally!) after another as the evening progresses.

While it may not be particularly rare to see a play with thirteen characters, it is rare for a play to be written so meticulously, and directed so carefully, that each of the completely distinct characters is completely fleshed out from beginning to end, maintaining the audience’s eager attention from moment to moment.

The acting here is pretty superb throughout. It’s interesting to note that about half of the actors are making their Broadway debuts, but have years of credits in the Chicago theatre community working as actors, directors, artistic directors, and writers.

The family matriarch is played by Deanna Dunagan. The role calls for some pretty elaborately wacky moments. In fact, that is what most of her character calls for, and while I found Dunagan to give a strong performance overall, I found it to be pretty much a one note characterization from start to finish. There were times that called for the audience to feel something toward her; disgust, guilty pleasure, sympathy. I just found it difficult to feel for her character as a human, which left me rolling my eyes during most of her key moments.

On the contrary, the other leading female is the eldest daughter, played by Amy Morton. I tend to be much more impressed by a strong, committed, naturalistic performance than a button pushing, over the top one. While in many ways Morton’s character goes through a similar wacky journey with just as many “out there” moments as Dunagan’s, I believed every minute of Morton’s character’s journey. The role calls for displays of quite the range of emotions, and Morton transformed from one to the next with ease and credibility. It really is a mind-blowingly authentic performance. One that came to mind as similar, yet to a lesser degree of intensity, was Cynthia Nixon’s portrayal of a grieving mother in RABBIT HOLE a couple years ago. Unapologetically real. No tricks.

Another standout is Sally Murphy, as the middle daughter, who really impressed in a role that calls for such demanding acting chops. I didn’t get the chance to see her as Julie Jordan in the recent CAROUSEL revival (I saw her in FIDDLER, but that didn't call for much of anything), but not many pigeonholed musical theatre ingénues can morph so believably from a submissive, very light role, to a strong, dramatic one, and Ms. Murphy is completely up to task.

Todd Rosenthal’s set is the interior of a three level house, with a visible staircase leading up to each next level. Director Anna D. Shapiro utilizes every inch of the Imperial’s stage leading from one moment to the next with groups of actors set in another room of the house for the next scene to be lit.

The play is in great shape, and aside from a couple line flubs and a 30 second lighting mishap where the room being lit suddenly went dark, the performance moved along smoothly.

I highly recommend this play for acting students, as so many different approaches are on display, and to see them all meshed with one another in the telling of a strong, cohesive story is quite a lesson.

AUGUST engages and entertains from beginning to end, so those worried about the 3 hours 20 minutes running time shouldn't. I guarantee that you won't be bored for a minute. All evening performances with the exception of Saturday nights begin at 7:30pm, so I was out of there by 10:50 and home by 11:15.

I just want to note that there is A LOT of on stage smoking of herbal cigarettes, so if that bothers you, you may choose to sit further back. I was in the front row center orchestra, and it was magnificent getting to watch this story unfold up close.

The theatre was half empty last night. I suppose the word needs to spread in order for a new, non-British transfer to fill the Imperial, so if you can get there during previews, I recommend it, as after the first act, most of the mezzanine audience moved down to the orchestra to fill out the empty spaces.

Updated On: 10/31/07 at 09:11 AM

[Toddlin2]

Posted: 10/31/07 at 9:31am

I saw it at Steppenwolf and have to agree with you that if there are any acting awards to be won it will be by Amy Morton, altho the entire cast is stellar. All serious acting students should see A/O. It will be like a master class.
Updated On: 10/31/07 at 09:31 AM

[MargoChanning]

Posted: 10/31/07 at 9:51am

"I saw it at Steppenwolf and have to agree with you that if there are any acting awards to be won it will be by Amy Morton, altho the entire cast is stellar."


Well, FYI, Deanna Dunagan just beat Amy Morton for Best Actress in a Principal Role at the Jeff Awards in Chicago two days ago -- which is not to say you're not entitled to your own opinion as to who deserves it more.

[Toddlin2]

Posted: 10/31/07 at 10:24am

Have another Martini, Margo.

[jaystarr]

Posted: 10/31/07 at 10:28am

Thanks ..what a great review ! I can't hardly wait too see this play next weekend.
Its nice to know that there will a be a great American play this season, aside from all the British imports (Seafarer, Rock N Roll, The 39 Steps and so forth ) I am very, very excited about this play.

J*

[RentBoy86]

Posted: 10/31/07 at 10:45am

Show curtain? What exactly is the title referring to? I get the Osage County part, but 'August'? I honestly think the title might turn some people off.

[KJisgroovy]

Posted: 10/31/07 at 10:58am

"I get the Osage County part, but 'August'?"

August is a month in the summer, dear.
In Chicago there was no show curtain.
I think Amy Morton gives a more sophisticated performance. Deanna Dugan has the BIG performance... but there isn't a false note any second Amy Morton is speaking. And Amy Morton has this short little moment of devastation that is really... just... wow.

[Wanna Be A Foster]

Posted: 10/31/07 at 11:01am

I agree, Jay. It is a nice relief to have a fresh American
play on Broadway. I'll be interested in hearing your thoughts on it.

RentBoy, there is no show curtain. The set is out there and open when you walk in. Stage hands move the necessary set pieces and props around at intermission, with the audience able to see, but nobody is really paying attention, and besides, it's intermission.

The title refers to the month in which the events of the play take place, which happens to be one of the main character's favorite months.

[SorryGrateful]

Posted: 10/31/07 at 1:11pm

How were the two replacements?

RentBoy, how can a title turn people off?

Amy Morton is oustandingly outstanding. Having seen her in quite a few things at Steppenwolf, I've been a big fan of hers in the least creepy way possible.

Updated On: 10/31/07 at 01:11 PM

[bwaylvsong]

Posted: 10/31/07 at 1:46pm

Woooo I just found out my friend is an understudy in this!

[RentBoy86]

Posted: 10/31/07 at 3:37pm

SorryGrateful, I'm just saying that the average person might be confused by the title "August: Osage County." I mean, time will tell, but it doesn't really give any insight into what the plays about at first glance.

and thanks for answering Foster. I didn't mean literally what is "August" but what is the reference to it in the play. thanks.

[MargoChanning]

Posted: 10/31/07 at 3:42pm

Does the title NOVEMBER -- Mamet's new play that opens in January starring Nathan Lane -- bother you as well? How about MAURITIUS?

[RentBoy86]

Posted: 10/31/07 at 3:46pm

Jeez. Didn't mean to get everyone's panies in a twist. I was just making a statement. Calm down. Breath.

I was just saying that with a title that doesn't really mean anything unless you've seen the play, tourists might not feel compelled to buy a ticket. I'm not saying the play is bad or anything of the sort. I'm just stating an opinion. Chill.

[Mattbrain]

Posted: 10/31/07 at 4:48pm

Smoking onstage doesn't bother me that much. It was a bit unpleasant smelling the fumes from the cigarettes in Piazza but other than that, I'm cool.

[Rotel1026]

Posted: 10/31/07 at 6:28pm

Rentboy, the title to a good number of shows don't mean anything unless you've seen the show. Just because you don't know what the title means doesn't mean it would turn you off. You could easily say it would make you more curious to see the show by not knowing what the title means.

And what do you think would be a better title for the show?

[Dirty_Rotten_Guy]

Posted: 10/31/07 at 10:01pm

Thanks for the review, Wanna Be

Sorry if this is a stupid question, but since the show is divided into 3 acts, are there 2 intermissions? It doesn't really matter to me, I was just wondering.

And what time did you get there for rush? I'm thinking of rushing this next weekend when I'm in the city, and you know, just want to make sure I can get a good seat. But I guess it all depends on what they have left, correct?

Anyways, thanks again

[Wanna Be A Foster]

Posted: 11/1/07 at 12:35am

SorryGrateful, which two actors were replacements? I was under the impression that the cast had remained intact from the Steppenwolf mounting.

Does the title NOVEMBER -- Mamet's new play that opens in January starring Nathan Lane -- bother you as well? How about MAURITIUS?

I don't think he said anything about the title bothering him. It sounds like you're just trying to antagonize when all he did was make a simple statement.

And to answer your quip, while we haven't seen any box office statistics for NOVEMBER yet, I can say that from the measly box office receipts for the run of MAURITIUS, it's more than fair to consider the ambiguous title as a factor in the show's inability to draw much of an audience beyond the MTC subscriber base.

Dirty_Rotten_Guy, I got there at 7:10pm for the rush, twenty minutes before the show began, and ended up with Right Orchestra Row E, but moved up to front row center before the show began.

I don't think you'll have any trouble getting a seat somewhere toward the front of the orchestra no matter what time you get there, especially if you do the matinee.

[RentBoy86]

Posted: 11/1/07 at 12:42am

I haven't seen the show, just saying. I don't understand all the hate. I'm not saying it's a stupid title, or anything like that, just simply stating that I think the title might be a hard sell to people. Hell if i know.

[uncageg]

Posted: 11/1/07 at 12:48am

A good friend saw it this evening and called me on his way home raving about it. I had it on my list to see while in New York. Now I think it might be a must see.

[madophelia]

Posted: 11/1/07 at 12:59am

I'm not saying it's a stupid title, or anything like that, just simply stating that I think the title might be a hard sell to people.

Because it isn't a well-known movie title?

Then again, I can understand the difficulty with Mauritius, as most Americans are geography-challenged.

[MargoChanning]

Posted: 11/1/07 at 1:23am

Actually, MAURITIUS has been posting attendance numbers between 81 and 85% since it officially opened and the reviews came out three weeks ago which is FAR from "measley" and is actually terrific for a straight play with no major stars in a very slow month like October (and compares favorably with any other nonmusial in town at the moment). I'm sure MTC is VERY happy with those numbers.

There was no attack on anyone. I was simply making a point that the title of TONS of plays (I could probably list at least 50 off the top of my head) reveal very little about the plot or setting of the play itself and only make any sense AFTER having seen it. Albee for one has made a career of it -- could anyone possibly surmise ANYTHING about the plot of WHO'S AFRAID OF VIRGINIA WOOLF? or SEASCAPE or TINY ALICE or A DELICATE BALANCE just from looking at the title? Do classics with names such as CAT ON A HOT TIN ROOF or THE CRUCIBLE or THE ICEMAN COMETH or THE LITTLE FOXES or BOYS IN THE BAND or GLENGARRY GLENN ROSS or CURSE OF THE STARVING CLASS or ARCADIA or ANGELS IN AMERICA: PERESTROIKA give you even the slightest hint about the subject matter or type of characters or plot of those plays from the title alone? Heck a few of those titles still may not entirely make sense even AFTER seeing the play, but they hardly drove any audiences away or prevented the plays themselves to being acclaimed works of theatre.

That was the only point being made and I'm sorry but I just don't see how -- if it's as great a play as everyone says it is -- the title AUGUST:OSAGE COUNTY would somehow make it a hard sell. If it gets the same kind of raves here that it received in Chicago, then the title will be irrelevant (as was the case for all of those works I named above).

Updated On: 11/1/07 at 01:23 AM

[Wanna Be A Foster]

Posted: 11/1/07 at 2:44am

Well if you were trying to make that point, you could have just stated it in the first place rather than sarcastically chucking in:

"Does the title NOVEMBER -- Mamet's new play that opens in January starring Nathan Lane -- bother you as well? How about MAURITIUS?"

^That statement says nothing about the point you made in your last post. So what I found to be antagonistic was everything you said in the post quoted above -- asking if the titles bothered him -- a question clearly intended to provoke rather than inform.

My response regarding the numbers for MAURITIUS was referring to the attendance levels from the first performance through now. The first four weeks of the run, which were previews, as you stated, the Biltmore filled to an average of 64%. The three weeks after opening filled the house to 80-85%, as you stated, but I think the reviews rather than the title were the factor in the rise in attendance. I also think that this conversation is pretty much pointless now, as my initial response regarding MAURITIUS was only on the basis of your remark to RentBoy asking if the title "bothered" him. Great speaking with you as always, and have a lovely night.

I look forward to hearing other posters' thoughts as they begin to see AUGUST: OSAGE COUNTY throughout its run. Be sure to post them.

Updated On: 11/1/07 at 02:44 AM

[RentBoy86]

Posted: 11/1/07 at 9:35am

Yeah. I'm not saying the show can't be a hit, and it may be, if it's as good as everyone says it is. But the title isn't something simple like "A Delicate Balance." I think we can all understand that title, but it just something I said off-hand. It wasn't meant to turn into some big ordeal. I hope the show. I hope it represents American playwrights well.

[madophelia]

Posted: 11/1/07 at 11:29am

Permission to twist my panties. This statement has been bothering me since I read it last night in the first posting:

The acting here is pretty superb throughout. It’s interesting to note that about half of the actors are making their Broadway debuts, but have years of credits in the Chicago theatre community working as actors, directors, artistic directors, and writers.

Community theatre?? I am looking at the program from the Chicago production and don't find much evidence of "community theatre," unless you consider everything outside of NY to be "community theatre." These actors don't work at the Hallmark store by day and "put on a show" a couple of times a year. The Steppenwolf is as 'legit' as it comes and its ensemble actors work interchangeably in film and television as well in NY and LA and a few have also taken on directorial assignments at the Steppenwolf itself.

Also, I didn't find Deanna Dunagan, who plays the Mama from Hell, to give a one-note performance at all. Violet's bursts of bile might appear to be all she's capable of projecting, but there are a number of scenes where the character's vulnerability is on full display. At least it was in Chicago.
Updated On: 11/1/07 at 11:29 AM

[Barihunk]

Posted: 11/1/07 at 11:56am

Ophelia - I think you are misinterpreting Foster's words here. He states "the Chicago theatre community" not "Chicago community theater". I believe what he was saying includes the entirety of Chicago theatre be they professional or un, just as if someone were to refer to the New York theatre community it would be an all-encompassing term for people working in the theatre industry. Nowhere did he call the production "community theatre" and I don't believe Foster considers this production such.