Austin360 blogs > Out & About > Archives > 2011 > November > 17 > Entry
On the personal necessity of theater
Habitually talking to folks in lobbies, I’ve found that some people attend theater out of obligation or curiosity. Others for mere distraction. For some of us, however, it is absolutely necessary to, in Paul Woodruff’s words, “watch people doing something worth watching.”
I don’t feed this basic theatrical need as often as I did in the past. Yet recently, I’ve been afforded the opportunity to make some modest comparisons among older material that has stood the test of time to differing degrees.
Zach Theatre’s shiny “Hairspray” impressed me more deeply than Zach Theatre’s blunt “Spring Awakening.”
After Sunday, I can compare Broadway Across America’s touring revival of Rodgers and Hammerstein’s “South Pacific,” seen last week, with Texas State University’s edition of the composing team’s other early musical, “Oklahoma!”
The second is directed by Kaitlin Hopkins, the fresh hope for musical theater training in Central Texas.
Last night, I caught Shrewd Productions’ take on Charles Mee’s “Big Love.” The premiere at Actors Theatre of Louisville was visceral, intense, unrelenting.
A second swing at the modernized Greek tragedy by Austin’s Rude Mechs appeared more intellectual and, at the same time, eccentric.
Colleague and dear friend Robert Faires directed the current “Big Love” at the Long Center in a way that reflects his calm, humane personality. The words and arguments win out, except during the scenes of group frenzy.
My main takeaway: Mee’s script can be nimbly interpreted in numerous ways. It, thus, has the makings of a modern classic.
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By Robert Matney
November 18, 2011 12:38 PM | Link to this
"Mee’s script can be nimbly interpreted in numerous ways. It, thus, has the makings of a modern classic." Nice. And agreed.