VIEWPOINTS – BERNHARDT/HAMLET & THE NAP: The value proposition of the non-for-profit model on Broadway

I say thank God for the presence of non-for-profit theater companies on Broadway. Without the commercial glare typically associated with Broadway, these institutions are able to take risks, particularly as it relates to new plays, that your typical Broadway producer/investor isn’t willing to take. So far this young 2018-2019 season, we’ve seen Second Stage – this season a new producing entity on the Great White Way – mount an excellent production of Young Jean Lee’s Straight White Men. This week, two additional new plays opened on Broadway under the auspices of the other two non-for-profit powerhouses, Roundabout Theatre Company and Manhattan Theatre Club – Bernhardt/Hamlet by Theresa Rebeck and The Nap by Richard Bean, respectively. If Broadway should represent among the most exciting new works in legitimate theater, then these institutions’ presence on the Main Stem is of huge value. Without their contributions, Broadway would be largely reduced to long-running hits and cookie-cutter musicals (still remember the trio of musicals that opened this summer?).

Janet McTeer in Roundabout Theatre Company's production of "Bernhardt/Hamlet" by Theresa Rebeck at the American Airlines Theatre. Photo by Joan Marcus.

Janet McTeer in Roundabout Theatre Company’s production of “Bernhardt/Hamlet” by Theresa Rebeck at the American Airlines Theatre. Photo by Joan Marcus.

On Tuesday, Roundabout Theatre Company’s production of Ms. Rebeck’s smart, strong-boned Bernard/Hamlet (HIGHLY RECOMMENDED) opened at the American Airlines Theatre. The play tells the story of legendary actress Sarah Bernhardt’s audacious late-career attempt at playing Hamlet in Paris. Bernhardt is played by the great Tony-winning British actress Janet McTeer (who looks fabulous these days, by the way), who is just magnificent in the role. The magnetic Ms. McTeer, who is supported by an excellent cast, imbues the title character with a scene-stealing, larger-than-life grandiosity that’s irrepressible and, as a result, irresistible. Upon first glance, the prolific Ms. Rebeck’s latest is a solid, well-crafted piece of playwriting. But as the play reveals more about Bernardt and her motivations, especially in the second act, I marveled at the play’s passionate depiction of the character’s fiery, undaunted multitudes – particularly as richly written and acted by Ms. Rebeck and Ms. McTeer, respectively – in the face of a male-dominated society (and industry).  Moritz von Stuelpnagel provides the production with a handsome look and powerful fluidity that imbues Ms. Rebeck’s play with a grand old air, just like its leading lady (or shall I say ladies?).

The company of Manhattan Theatre Club's production of Richard Bean's "The Nap" at the Samuel J. Friedman Theatre. Photo by Joan Marcus.

The company of Manhattan Theatre Club’s production of Richard Bean’s “The Nap” at the Samuel J. Friedman Theatre. Photo by Joan Marcus.

Also this week – last night, in fact – Mr. Bean’s The Nap (RECOMMENDED) opened at the Samuel J. Friedman Theatre, courtesy of Manhattan Theatre Club. Mr. Bean is perhaps best known for penning One Man, Two Guvnors, the play that introduced New Yorkers to the now-television celebrity James Corden; he deservedly won a Tony for that voracious performance in the show. If The Nap is overtly less laugh-out-loud funny than that previous outing – few plays are – it’s the kind of frothy, sturdily-built comedy that Broadway has been in desperate need for (rest in peace, Neil Simon). Set in Sheffield, England, the play depicts the zany events surrounding the snooker (the British version of pool) championship tournament. No spoilers here. The production is helmed by veteran director Daniel Sullivan, who confidently paces the play. Despite some issues with accents, his cast of stalwart actors is deliciously game for Mr. Bean’s farcical shenanigans. I was particularly giddy to see long ago Chicago transgendered actress Alexandra Billings (I still vividly recall her thrilling Mama Rose at a Chicago storefront theater once upon a time), in her Broadway debut, play a transgendered character, and on Broadway to say the least. My, how times have changed.

Now how can we get the Public on the same straight-to-Broadway producing track/model?

 

BERNARDT/HAMLET
Broadway, Play
Roundabout Theatre Company at the American Airlines Theatre
2 hours, 20 minutes (with one intermission)
Through November 11

THE NAP
Broadway, Play
Roundabout Theatre Company at the American Airlines Theatre
2 hours, 15 minutes (with one intermission)
Through November 11

 

Categories: Broadway, Theater

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