Following the news that The Misfits will be staged at the Dublin Theatre Festival later this month (see here), London’s Evening Standard reports that All About Eve will open at the Noel Coward Theatre next February for a limited 14-week run, with Gillian Anderson and Lily James recreating the lead roles played by Bette Davis and Anne Baxter in Joseph L. Mankiewicz’s Oscar-winning 1950 movie. Of course, All About Eve is all about life in the theatre, and it’s not the first time it’s crossed over to the stage. In 1970, Lauren Bacall won a Tony award for Applause, a hit Broadway musical adaptation. This new take will also feature music, by the acclaimed singer-songwriter P.J. Harvey. It’s not clear yet who will play the supporting character of Claudia Caswell, whose original incarnation gave Marilyn one of her first big breaks.
Some Kind of Love Story, one of the plays in Arthur Miller’s 1982 double bill, Two-Way Mirror, is considered to be inspired by Marilyn. However, its lesser-known counterpoint, Elegy For A Lady – currently playing at Birdie’s on West 18th Street as part of the Open Spaces festival in Kansas City – also brings her to mind, as Alan Portner writes for Broadway World.
“Elegy For A Lady is a tiny fragment of a play lasting no more than forty minutes, but also an insight into the mind of American playwright Arthur Miller. Instead of being performed in a traditional theater, Bob Paisley and Heidi Van inhabit their characters inside a tiny lady’s boutique in the Crossroads among, rather than in front of, a tiny audience of about twenty people.
Neither actor is named in the script. They are the owner of the boutique and a middle-aged man with a longing desire to purge his soul of a much younger woman. She is his mistress, yet emotionally unobtainable. The man obviously wants more. The mistress requires a separation. The mistress is ill and soon to undergo a serious operation. The man shops for a gift before she enters treatment.
Somehow, a bond grows between the shop owner and her customer. She becomes his muse and ultimately his lover. Having the audience in the middle makes the action all the more intimate.
Heidi Van, as the shop owner, wears the iconic blond hairstyle from Monroe’s last completed film, The Misfits. Van, in costume, is close to a ringer for Monroe.
Bob Paisley as the stand-in for Arthur Miller is sufficiently tortured by his own infidelities, his love for this almost unobtainable avatar of a woman, and his need to unburden himself. Van listens, advises, then transforms into the woman about whom the Miller-like character obsesses. They make love and abruptly the relationship ends. The playlet ends. The audience wants more, but there is no more.”
Marilyn is a hot topic in fringe theatre, though the results aren’t always stellar. At this year’s Edinburgh Festival, she’s the subject of two new shows, reviewed by Joyce McMillan for The Scotsman.
The Marilyn Conspiracy has grabbed a few headlines although Marilyn herself isn’t depicted – it’s set in the hours after her death, as some of the main players in her final months respond to the tragedy.
“The play is desperately confusing at first, and urgently needs to use its tableau-like opening moments to let the characters tell us exactly who they are … It’s a measure of the sheer power of the story, though, that the play rivets the attention nonetheless, as the two doctors in the room, and even Marilyn’s furious friend Pat Newcomb, are gradually worn down … “
However, another audience member – MM superfan Lorraine – told me, “The Marilyn Conspiracy had all the bogus theories – the ambulance, Bobby Kennedy, injections, enemas etc … I could hear people laughing a lot at some of the theories talked about … maybe the audience all knew better!” In his review for The Stage Paul Vale agrees, describing the play as a “stifling, under-developed drama that blurs fact and fiction.”
Theatregoers whom (like myself) aren’t enthralled by conspiracy theories may prefer the lighter option…
“JoJo Desmond’s cabaret show The Marilyn Monroe Story is a fragile little piece by comparison, a brief and simply staged hour of songs and biographical narrative tracing Marilyn’s remarkable life, not least through versions of some of her most famous and fabulous costumes. Desmond sings Marilyn’s songs beautifully, in a near-perfect imitation of her breathily gorgeous voice; and she, too, observes the link with the #metoo moment. Her script, though, never soars into anything like the brilliant writing a life like Marilyn’s invites and for all her charm, she is a long way from even beginning to capture the glowing charisma of the woman herself.”
Once again, Lorraine’s view was quite different to McMillan’s. “On the whole,” she says, “the show was well-researched and the costumes and mannerisms and performances of songs were spot on … the voice was accurate and she had some beautiful costumes (including a ‘Heat Wave’ replica outfit!), and you could tell that she had studied every single movement that Marilyn does in each of the musical performances.”
Where Marilyn is concerned, a diehard fan can be more perceptive than most theatre critics. Lorraine will be posting her full review of both shows soon on the Marilyn Remembered blog.
Fellow Travelers, Jack Canfora’s new play about Marilyn, Arthur and Elia Kazan, was critically acclaimed when it opened in the Hamptons this June (see here.) The producers are now hoping for a Broadway run – but as Michael Reidel reports for the New York Post, without a star attached it’s going to be an uphill journey.
“This issue is bedeviling a compelling new play that, if it could get a Broadway theater, would be a strong contender to win the Tony next year. Jack Canfora’s Fellow Travelers — about the real-life combustible triangle of Arthur Miller, Elia Kazan and Marilyn Monroe during the McCarthy era — opened in June to rave reviews at Sag Harbor’s Bay Street Theater.
Local critics called director Michael Wilson’s production ‘phenomenal,’ ‘sharp,’ ‘witty’ and ‘gripping.’ New York’s major papers, alas, didn’t review the show. Had their reviews been good, the play would have stood a much greater chance of getting to Broadway.
Somebody slipped me a copy of the play, and it’s terrific. Fellow Travelers takes a few liberties here and there with the facts, but it digs deep into the complicated friendship — and falling out — between Kazan and Miller.
And it spices things up by adding Monroe to the stew. In his biography Arthur Miller, Martin Gottfried suggests that Kazan threw Monroe in Miller’s way, knowing that she would upend the playwright’s life.
Gripping as it is, Fellow Travelers has yet to find its way onto Broadway. ‘We don’t have a star,’ a production source says. Celeb duos are being floated — Andrew Garfield and Jake Gyllenhaal and Benedict Cumberbatch and Tom Hardy among them. If they read the script, they would leap at the chance to play such juicy characters.
Until then, Fellow Travelers languishes on Broadway’s waitlist. That’s a pity.”
The Misfits will have its first ever stage adaptation (as far as I’m aware) at the Dublin Theatre Festival from late September to mid-October, as Jennifer O’Brien reports for The Times. While I don’t think the movie should ever be remade, I’m glad to see Arthur Miller’s creation getting a new lease of life.
The Misfits already has an Irish connection, as prior to filming in 1960, Arthur had visited director John Huston at St. Cleran’s, his estate near Galway, to discuss the project (while Marilyn was filming Let’s Make Love in Hollywood.) No dates have yet been announced, but it will be staged at the Corn Exchange – and I’ll be keeping you posted, so watch this space!
“The production, directed by Annie Ryan, was announced as part of the line-up for the Dublin Theatre Festival … [Aoibhinn] McGinnity, 31, said that while she was looking forward to playing Tabor at the Corn Exchange, she had not watched the film that inspired the play.
‘I hadn’t seen the film, but had met Annie to chat about the concept, and it was like, You know what, maybe don’t watch the film,’ she said. ‘We are not going to play it like Marilyn Monroe; we are going to do our own spin.’
Ryan has promised that her version of The Misfits will offer it ‘the space to come into its fullest expression’. ‘Annie is trying to rewrite it from a different angle and it brings in so many things about feminism and masculinity,’ McGinnity said.”
UPDATE:The Misfits will be staged at Dublin’s Corn Exchange from September 27-October 1. More details here.
Arthur Miller’s last play, Finishing the Picture, has opened at London’s Finborough Theatre to mostly positive reviews – although some critics have questioned why Kitty (the Marilyn-based character) is so constantly talked about, but never actually seen. Only the second production (and first in Europe), it’s on until July 7.
“The play itself is a pretty static thing, involving much talking in circles as to how to coax the radiantly beautiful and gifted Kitty (Monroe) out of her crippling self doubt and drug dependency in order to complete filming and save her from herself. Crucially, Kitty never appears on stage and has no voice, rendering her the kind of unknowable goddess/tormentor … indeed the whole piece has the feel of an exercise to seek ‘closure’ for this chapter of his life.” – The Stage
“The cohesive group of actors deliver strong performances from start to finish … A jarring peek into the ugly truth behind the idealisation of film stars opposed to the reality of the profession, Miller’s final play becomes of momentous meaning in the aftermath of the Weinstein scandal.” – Broadway World
“Even as all the production members attempt to cajole Kitty into emerging from her hotel room and returning to set, there is a sense that their supposed concern for her is secondary: they will say whatever they must to save the picture … the ensemble do not seem to appreciate their culpability in the downfall of women like Monroe, and even by the play’s conclusion there is a sense that, even as Kitty has a slight chance of recovery, it may only be temporary.” – Reviews Hub
“It’s an interesting decision Miller made not to give Kitty herself a voice, but to show how those around her project on to this blank screen their own preoccupations and prejudices. The trouble is, we end up with very little idea of why Kitty is having a breakdown. In his programme note, director Phil Willmott alludes to the Weinstein scandal and #MeToo movement, but sexual abuse of women in Hollywood doesn’t really feature in the play — even if it is implied that Kitty is regarded as a commodity.” – Londonist,
“Finishing the Picture feels like an exorcism, a celebration, an apology and an inquest – it’s a patchy but powerful look at the dark forces that made Monroe such a vital but troubled personality … Miller has elected to keep Kitty entirely off-stage. It’s a clever device, which emphasises Kitty’s loneliness, but it sucks the life out of the play. Everything is reported, precious little happens and the most interesting character doesn’t get a look in.” – The Guardian
“Forty years on from his After the Fall, [Miller] returned to trying to explain – not excuse, not quite – the disintegration of his relationship with Monroe, alias Kitty. Here, he reserves his full venom for Method acting gurus Lee and Paula Strasberg … Yet Miller the playwright’s concern for Monroe seems as effortful as that of Paul, the Miller character. The biggest surprise, puzzle and disappointment is that, for someone so evidently haunted by the memory, Miller can in the end (literally, for him, the end) offer so little unique insight.” – Financial Times
“This is a tribute play. Miller had true affection for Monroe and with Finishing The Picture, this is clearly on show. An incredible look at the power ofand the absurdity of unchecked ego. Phil Willmott’s skilful direction expertly bringing this passionate play to life.” – Boyz
“The history is fascinating (for a while at least), but the play less so. It is hampered by the fact that Kitty is always off stage. Instead we get snippets from lives of less importance … you can feel the claustrophobia here of being stuck in a hotel in the middle of nowhere. But I soon got bored with the seesaw drama of Kitty’s ability to stand up.” – The Times
“The intimate setting of the Finborough Theatre provides a perfect foreground for Miller’s innermost thinking to unpack. Herein, the audience are given a rare glimpse into the dark imperfections of Monroe’s character and how those in her orbit, superbly brought to life by the performing ensemble, struggle to pacify her mercurial tendencies.” – KCW Today
“Like many old men’s plays (think of Shakespeare’s The Tempest or Ibsen’s When We Dead Awaken), it is spare and static. But it is admirably animated by director Phil Willmott with a skilful use of music and sound effects to represent the unseen Kitty.” – Daily Express
Marilyn! The New Musical is set to close on June 17 (after just twenty-three performances), Scott Roeben reports for Vital Vegas. While a press release states that the show is merely ‘on hiatus’, Roeben predicts it won’t be coming back.
“From what we hear, the implosion of Marilyn! The New Musical had little to do with the talent of its cast. Even as the show opened, there were rumors of behind-the-scenes drama, including a lack of competent direction and serious financial issues, and entertainment insiders predicted the show would have a very short run.”
“Sources also report that producer Tegan Summer, founder of Prospect House Entertainment, is seeking a new investor in the project. Those reports are in line with a production that has abruptly lost its primary funding and is forced to go dark while looking for more money.
Marilyn! also suffered myriad unexpected obstacles, such as the late delivery of its stage set — reportedly producers used a company not experienced in furnishing sets to Strip production shows. Thus, the show’s scenery, crucial to any production’s aesthetics, was not completed until the week after its premiere.
But commonly, if a production show holds its financial investment, it can ride out such early production snags. It can also weather a poor reception.
Lewis, who devoted up to four hours a day working with Summer on mastering the title role, said today, ‘I’m pretty bummed out. It’s back to the drawing board, I’m afraid.’ Lewis, who left Baz at Palazzo Theater to join the production, is working on a new album.”
In addition to Finishing the Picture, opening in London this month, another Miller play is being revived in the UK by the StoneCrabs Theatre Company. Some Kind of Love Story (1982) is a one-act play, touring London and the South-East this summer as part of a double bill with a Brazilian play, Tieta (The Trial). (Some critics believe Love Story is loosely inspired by Arthur’s relationship with Marilyn. It was originally produced with another Miller play, as Two-Way Mirror.)
“Inspired by the 1940s and 50s film noir genre, Some Kind of Love Story is a dramatic gem: former lovers Angela and Tom meet one night to discuss the Felix Epstein case, which Tom has been trying to crack for five years. He is convinced Angela has privileged information, therefore holding the key to the innocent Felix’s release from prison. But Angela will not tell. Is Tom ready for the truth?
Miller hits back at the themes of American justice and the search for truth in a tale of corruption, drugs, power and abuse.”
Fellow Travelers, Jack Canfora’s new play about Marilyn, Arthur Miller, Elia Kazan and the Hollywood Blacklist, has opened at the Bay Street Theatre in Sag Harbor, NY to glowing reviews – although Monroe fans may prefer to judge for themselves…
“While Monroe is not central to the moral issue at stake here, she is an integral part of the two men’s lives. She had a long affair and friendship with Kazan, and she fell in love with Miller even though he was married. The tabloids gorged on her short marriage to Joe DiMaggio, her surprising liaison with Miller, his ‘quickie’ divorce, and finally, their five-year marriage.
Today Monroe is an iconic touchstone of the era. We know her all-too-human story, her emotional wounds, her breathy voice, her luscious body. Ms. Hewitt in a blonde wig does a boffo job of portraying that Marilyn with warm earthiness, touching grace and surprising self-awareness.
Though some might cavil that her part is underwritten, she was not faced with the moral question of betrayal for art. Nor is she the Greek chorus here, for she does not comment on the action but rather lives in it. Her relationships with Kazan and Miller demonstrate how acts of great consequence do not occur singularly alone …
Indeed, Marilyn is necessary here, for she is the force who brought the former friends together in 1963, though they would never be great pals again.” – Lorraine Dusky, 27East
“Playing icon Marilyn Monroe in a movie or play is always a tall order, but Rachel Spencer Hewitt measured up to the task and took her performance to a high level. The sexy aspects that made Marilyn Monroe along with some shockingly blunt dialogue again kept the audience captured in the story.
Fellow Travelers is an important play because it deals with a dark time in our nation’s history. A time with congressional hearings on ‘Un-American Activities’, and blacklists and betrayals to friends, and in some cases, to the country. Fellow Travelers is a hit because it is a great script that comes to life with excellent acting and wonderful directing.” – T.J. Clemente, Hamptons Theater Review
“As Monroe, Rachel Spencer Hewitt holds back on the bombshell we know so well, instead showing us a troubled woman coming to terms with her public perception … While dialogue drags at times, the play offers illuminating glimpses of the creative genius of Miller and Kazan.” – Barbara Schuler, Newsday
“The cast is exemplary … Hewitt is a strong presence as Monroe, and later as Barbara Loden, Kazan’s second wife, who then portrays the Marilyn character, Maggie, in Miller’s After The Fall, directed by Kazan.” – Bridget LeRoy, Hampton Independent
“Among the top-notch cast is Rachel Spencer Hewitt strongly portraying Marilyn Monroe. Fans of the starlet will appreciate how Ms. Hewitt doesn’t necessarily copy Monroe’s famous public persona, but cleverly infuses her own take on the role.” – Melissa Giordano, Broadway World
“With the play’s punchy, often vulgar dialogue, Mr. Canfora wrings genuine conflict and emotion from his two talented and driven characters … But in a production with so many excellent performances, it is no small compliment to say that Rachel Spencer Hewitt, as Marilyn, makes the play her own. So iconic is Monroe — and so caricatured in popular culture — that there may be no more treacherous role for an actress to play. Just on sheer guts, one must tip his hat to Ms. Hewitt for trying.
But the actress does much more than that, with a portrayal that captures both the iconic Marilyn and the tender and innocent woman she most likely hid from the world. In Fellow Travelers, we get a Marilyn on the cusp, both world-weary and yet still hopeful about her career and the possibility of love. After her divorce from Miller, she would never be quite the same.
While the play hardly absolves Kazan, there is at least the desire to understand him. And just when Miller’s saintly posturing grows tiresome, Mr. Canfora has both Kazan and Harry Cohn take pithy potshots at the playwright’s sanctimony.
But it’s Marilyn Monroe who, even in death at play’s end, gets the last word. Just as her image bedeviled millions of filmgoers (and continues to do so), so did she loom in the minds of Miller and Kazan; neither ever really got over her. Thanks to a great performance by Ms. Hewitt and the tender writing of Mr. Canfora, she ultimately dominates Fellow Travelers as well.” – Kurt Wenzel, East Hampton Star
“The grand opening performance on June 1 was a rapid-fire affair, bouncing from song to song with roller-coaster momentum and an extraordinary amount of emotion from a gifted cast anchored by Ruby Lewis as Marilyn.
This is only the beginning. It will be exciting to see how Marilyn! evolves over time, but the Vegas entertainment community is already grateful to have an original piece of musical theater on the Strip stage.” – Brocke Radke, Las Vegas Sun
“The numbers most pleasing to the ear are a series of duets between Marilyn (Ruby Lewis) and her younger self, Norma Jeane (Brittney Bertier). While it’s best to ignore the lyrics, the music lends itself nicely to the melding of two excellent voices.
The overwhelming strength of this production is its cast. Ruby Lewis is a fine singer and actress, and does the best she can with a book that gives her little opportunity for character development.” – Mary LaFrance, Talkin’ Broadway
“Marilyn Monroe was a troubled soul — and a divided personality, the blond bombshell forever haunted by the troubled young woman inside. So perhaps it’s fitting that Marilyn! — the new Monroe musical at Paris Las Vegas — suffers from split-personality syndrome. It wants to be a fizzy, showbizzy Vegas musical eager to wow you with sass and pizazz. Yet it never figures out how to do that while recounting the frequently sad facts of Monroe’s all-too-short life.
Lewis makes a visually convincing Monroe, although she’s less consistent vocally. Especially when she shifts from speaking to singing, replacing Monroe’s breathy purr with her own powerful belting, thereby undercutting the vulnerability that helped make Monroe so much more than the latest in a long line of foxy blondes.” – Carol Cling, Las Vegas Review-Journal