Three-time Tony Award® winner Frank Langella returns to Broadway in Roundabout Theatre Company's exciting new production of Terence Rattigan's masterpiece MAN AND BOY, directed by Maria Aitken (The 39 Steps). At the height of the Great Depression, ruthless financier Gregor Antonescu's business is dangerously close to crumbling. In order to escape the wolves at his door, Gregor tracks down his estranged son Basil in the hopes of using his Greenwich Village apartment as a base to make a company-saving deal. Can this reunion help them reconcile? Or will this corrupt father use his only son as a pawn in one last power play? Don't miss this gripping story about family, success and what we're willing to sacrifice for both.
Basil lacks his father's diamond-tipped ruthlessness; he's 'soft,' a condition he tells his saucy American girlfriend Carol (Virginia Kull, doing her best as a one-woman exposition service) that his father equates with being 'queer.' This notion is then borne out, rather literally, in a highly entertaining but largely ridiculous game of insinuation and sexual leverage, in which Antonescu lures a potential merger target, Herries (Zach Grenier), to Basil's grungy Village apartment, and convinces his closeted guest that he's among kindred spirits — indeed, that Basil himself might be “un petit pederaste,” if the price is right. This should be appalling, but, as directed by Tricycle Theatre's Maria Aitken, it's mostly just amusing — the best leg of the show, in fact. Grenier and Langella share a fascinating pas de deux, a battle of body language that's a treat to see. As Antonescu's majordomo Sven, the right-hand man who's expert at pretending not to know what the left hand is doing, Michael Siberry proves himself, once again, the Roundabout's secret weapon and sine qua non. (In just three syllables — perhaps the most spectacularly insincere 'I'm sorry' ever uttered on any stage or in any medium — Siberry sums up the mendacity of the entire politico-financial apparatus he serves. When does this guy get his own miscalculated Roundabout revival?)
Some of this last shortcoming might stem from Maria Aitken's mostly apt-looking, but oddly off-kilter production. Faridany doesn't fit any of the clues the script gives Antonescu's wife; Kull and Siberry play effectively but without warmth. Grenier is expectably reliable; Hutchison has apparently been pushed toward caricature. Then there's Driver, one of the most arresting, and maddening, young actors around. His frequent moments of interest here are never sustained; the performance becomes a series of intermittent blurts, a sketch by an artist who doesn't know how to make his lines add up to form a picture. That's no way to hold the stage opposite Langella's canny, painstaking flamboyance.
1963 | Broadway |
Broadway |
2011 | Broadway |
Roundabout Revival Broadway |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2012 | Tony Awards | Best Performance by an Actor in a Leading Role in a Play | Frank Langella |
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