By Playbill Staff
07 Sep 2013
|Photo by Michael J. Lutch|
ROBERT SIMONSON, Playbill Special Correspondent
The Glass Menagerie (Broadway). Yes, this Tennessee Williams classic has been revived too many times in recent years. But attention must be paid when one of the American theatre's greatest actresses—Cherry Jones—takes on one of the American theatre's greatest roles.
Twelfth Night and Richard III (Broadway). In the hands of actor Mark Rylance, Shakespeare become lucid and fresh. That the actor can do almost anything (comedy, drama, classics, new works, act without the aid of a mike, etc.) will be further illustrated by this repertory romp, in which he will play a man in one play (Richard III) and a woman in the other (Olivia in Twelfth Night).
Grasses of a Thousand Colors (Off-Broadway). Wallace Shawn is America's most tough-minded, unflinching playwright, taking long, hard looks at the heavy moral price we pay for the culture we enjoy. He produces a new play seldomly, making each one an event. He always writes the kind of play that keeps you talking about it for hours, days, weeks afterward—a rarity in today's theatre.
Scenes From Life in the Country (Off-Broadway). Richard Nelson's deeply felt, keenly observed Apple Family series has produced three of the more magical, wondrously naturalistic evenings of theatre of the past three seasons. On to number four.
How I Learned What I Learned (Off-Broadway). Over the past few seasons, actor Ruben Santiago-Hudson has proved himself this moment's preeminent August Wilson director. It's hard to imagine anyone else sitting in for the playwright himself in this autobiographical solo play written by Wilson.