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| Unusual Occurrence at Iceman on Tuesday | |
| Posted by: TKTSVET 01:21 pm EDT 03/30/18 | |
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| I saw Iceman Cometh on Tuesday (wonderful production, uniformly strong cast), and sitting near me at the extreme audience left in the second row was a guy with a music stand who, we found out several hours later, was a prompter. The play proceeded along for the first three hours and thirty five minutes fairly seamlessly (Colm Meaney seemed to be struggling a bit at times and it appeared that Denzel Washington might be have been reading from a piece of paper for a moment in the second act when he was seated at at table), then during Hickey's searing monologue at the conclusion of the play, Washington twice called "line" and the prompter fed him the line very effectively -- my guess is that most of the audience may not have even noticed because Washington had been delivering the monologue at a fast pace and didn't change his expression or look away while the line was being read. This was a first for me -- in 50 years of theatre-going I have never seen a prompter seated in the audience before, and I can recall only one instance where an actor specifically called for a line during a performance on Broadway (to a confused off-stage SM) -- I have seen many flubs and fluffs and scenery and wardrobe issues, and a few actors who I wish had called for a line. When I posted about this on Facebook, my thread blew up with a debate about whether this was unprofessional and whether Washington should have used an earbug and whether they should have postponed previews, etc., etc. For me personally, I found it fascinating to see an actor I admire deal with uncertainty about lines in a tremendously challenging part -- it was a bit thrilling, to be honest, and the line calls were far less disturbing than the phone that went off (after three hours and fifty two minutes of phone silence) during David Morse's final monologue. If anyone has seen Iceman since, is the prompter stil there? | |
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| re: Unusual Occurrence at Iceman on Tuesday | |
| Posted by: Michael_Portantiere 05:13 pm EDT 03/30/18 | |
| In reply to: Unusual Occurrence at Iceman on Tuesday - TKTSVET 01:21 pm EDT 03/30/18 | |
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| Completely aside from anyone's opinion on whether or not it's unprofessional for an actor to call for a line during a public performance, I'm curious as to what people's thoughts are on why anyone would think it's better to have the prompter situated in the audience (with a script and a music stand in this case) rather than in the wings, or rather than having the actor use an earpiece(and perhaps signaling for a line with a certain hand gesture, or in some other way, rather than calling "line"? Does anyone feel this is less, rather than more, intrusive in terms of taking the audience out of the play? | |
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| re: Unusual Occurrence at Iceman on Tuesday | |
| Posted by: stgmgr 04:33 pm EDT 04/01/18 | |
| In reply to: re: Unusual Occurrence at Iceman on Tuesday - Michael_Portantiere 05:13 pm EDT 03/30/18 | |
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| In my experience, "line" is used because its intent is unmistakable. The last thing that an actor wants is to be prompted when he doesn't need it. Presumably, the prompter has his head in the book to be ready with an instant response and thus can't be watching for hand signals, significant looks, or raised eyebrows. I don't know about this particular production, but there could be compelling reasons regarding sightlines, lighting, staging, or acoustics that would make it undesirable for the prompter to be in the wings. In any case, I'm sure that this is a temporary expedient during early previews. |
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| re: Unusual Occurrence at Iceman on Tuesday (and other subjects) | |
| Posted by: TomE 03:39 pm EDT 03/30/18 | |
| In reply to: Unusual Occurrence at Iceman on Tuesday - TKTSVET 01:21 pm EDT 03/30/18 | |
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| Washington called for one line on Wednesday and it did somewhat take me out of the action -- but that may have been due to the specifics of this instance. He said the word "Line" quietly but, after the prompter apparently went on too long, Washington more loudly said "Yeah!" (like, "OK, stop!"). Anyway, I thought the show was in pretty good shape -- not yet thrilling, but also free of the long, dull stretches that I seem to remember from both the Lane and Spacey versions. Even at this early preview, Wolfe and his mostly excellent cast have created a fairly strong ensemble feel that keeps things moving regardless of whether the main star is on stage. |
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| Dull stretches? | |
| Posted by: SamIAm 03:53 pm EDT 03/30/18 | |
| In reply to: re: Unusual Occurrence at Iceman on Tuesday (and other subjects) - TomE 03:39 pm EDT 03/30/18 | |
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| You mention that this version was free of 'dull stretches'. Has the book been modified? Audiences these days don't have the patience to get to know characters and to sit quietly and appreciate good writing and character development. The previous version done at the Goodman with Lane and Dennehy went to BAM and not to Broadway but I would guess that with a 'star' on the stage and the expectation that audiences of tourists may come to see that star, perhaps they have shortened the book? Anyone know? I am a purist and would not really want to see the play if they tinkered with O'Neill's work. |
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| re: Dull stretches? | |
| Posted by: TomE 05:43 pm EDT 03/30/18 | |
| In reply to: Dull stretches? - SamIAm 03:53 pm EDT 03/30/18 | |
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| They definitely have shortened the book -- the show ran about 3:55, including three (relatively brief) intermissions. In contrast, the Lane version was said, in reviews, to run 4:45, and the Spacey version 4:15. However, to me, the cuts didn't seem all that obvious. And in a couple cases, where I thought I noticed them, it was because I was expecting a redundancy that didn't arrive. For example, as I look back on the text, I think this was cut from Larry's lines about disillusionment with the "movement": "When man's soul isn't a sow's ear, it will be time enough to dream of silk purses." Since Larry had already, in the same speech, talked about "the breed of swine called men in general," I didn't mind losing the additional pig imagery. Nonetheless, as I think about it, given cuts along these lines, Larry probably does now come off as less of a blow-hard and more of a solid antagonist to Hickey, which could be viewed positively or negatively. I thought it worked (and I especially liked David Morse in the role). Also, I guess similar cuts may be why other conflicts between characters struck me as more vital in this production than they have in the past. |
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| Don't worry (spoilers) | |
| Posted by: aleck 05:04 pm EDT 03/30/18 | |
| In reply to: Dull stretches? - SamIAm 03:53 pm EDT 03/30/18 | |
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| This is a dazzling production. I saw it Wednesday. The stage is filled with pros doing top-drawer pro work. Everyone is cast perfectly. Even Bill Irwin is perfect. The sets are spectacular and add a degree of magic to the development of the richness of the script -- and changes in the internal lives of the characters -- that I have never seen or imagined with this play. There was some minor tinkering with the ending, but as directed it's a knockout. Wolfe handles some clumsy aspects of the script in brilliant ways. Sometimes I wonder if O'Neill visualized the staging problems with this script. There are long stretches when the stage is filled with characters who do nothing and at the same time are not supposed to be aware of the central action. Weird, but handled well here. With all these great performances (and any one of those actors could have played Hickey) and the performances in Angels, the most hotly contested category at this year's Tonys will be Best Supporting Actor. How will they narrow it down to five? Denzel is Denzel. He has a bag of tricks that he puts to great use here. There is a darkness missing, I think. But that will probably come. My only disappointment? After seeing David Greenspan do all the parts in Strange Interlude, seeing Denzel doing only one part seems almost like a cheat. (Greenspan had no prompter.) |
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| "Even Bill Irwin is perfect"? | |
| Posted by: MockingbirdGirl 05:14 pm EDT 03/30/18 | |
| In reply to: Don't worry (spoilers) - aleck 05:04 pm EDT 03/30/18 | |
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| As I would expect! (I'll bet he knew all his lines, too ;) | |
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| re: Dull stretches? | |
| Posted by: EvFoDr 04:49 pm EDT 03/30/18 | |
| In reply to: Dull stretches? - SamIAm 03:53 pm EDT 03/30/18 | |
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| I haven't seen this version yet, but the advertised running time is a couple hours shorter than the Nathan Lane version at BAM, which I did see. Given that, I'd say the book must be altered with cuts. | |
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| re: Unusual Occurrence at Iceman on Tuesday | |
| Posted by: libbymaebrown 03:26 pm EDT 03/30/18 | |
| In reply to: Unusual Occurrence at Iceman on Tuesday - TKTSVET 01:21 pm EDT 03/30/18 | |
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| I was there that night too! And was sitting two rows behind the prompter--close enough to be able to read the script, which was both annoying and sort of fun at the same time. I don't remember him calling "line!" twice--but the time I did hear him call it, I was impressed with how he handled it--he took several seconds of silence to reconnect with the text and the play and started back in. I heard MANY cell phones go off. At least five. And one iPhone "alarm." I was displeased; most preview audiences are savvier than that. It was my first time seeing a prompter in the audience; the only other times I've been aware of prompting were during DEUCE when both Seldes and Lansbury had to continually get help from a "faint off stage voice" though I don't think either of them said "line!" per se. It was also evident to me with Bette Midler during I'LL EAT YOU LAST; she heavily relied on prompting--both an off-stage voice and an earpiece (I believe) as she seemed to be fussing with something in her ear. I feel like there was some prompting during Forest W's HUGHIE but I remember so little about that show that I may be wrong...! |
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| re: Unusual Occurrence at Iceman on Tuesday | |
| Posted by: writerkev 03:00 pm EDT 03/30/18 | |
| In reply to: Unusual Occurrence at Iceman on Tuesday - TKTSVET 01:21 pm EDT 03/30/18 | |
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| Could this have been the real reason the first performance was canceled? Some people here were skeptical of the excuse that a set piece was delayed because of the previous day’s snow... | |
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| re: Unusual Occurrence at Iceman on Tuesday | |
| Posted by: MockingbirdGirl 02:53 pm EDT 03/30/18 | |
| In reply to: Unusual Occurrence at Iceman on Tuesday - TKTSVET 01:21 pm EDT 03/30/18 | |
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| When I posted about this on Facebook, my thread blew up with a debate about whether this was unprofessional and whether Washington should have used an earbug and whether they should have postponed previews, etc., etc. I don't think it's either unprofessional or previews should have been postponed... but it does highlight why I'm nostalgic for the "good old days" when previews were reduced in price because things like this might still happen. |
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| You hit it on the head! The first week of previews should be 50% cheaper than regular tickets. | |
| Posted by: portenopete 05:52 pm EDT 03/30/18 | |
| In reply to: re: Unusual Occurrence at Iceman on Tuesday - MockingbirdGirl 02:53 pm EDT 03/30/18 | |
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| I have rarely gone to a first preview where "something" hasn't gone wrong. Sometimes it's an actor flubbing a line, other times it's a set piece not working. Usually it's a rhythm or confidence that hasn't quite jelled yet. Often what balances out these flaws is a great energy and enthusiasm or just plain terror, which can translate into something very entertaining and gripping. But to charge full price for the first week of previews is just cruel to both audience and actor. A role like Hickey is a mountain, cut or uncut. And O'Neill in general can be a bitch to learn: there's a reason his plays run so long: he has his characters go over the same terrain with the same words and it is a challenge to solidify them in your mind. That fluency and ease can only be perfected with an audience present. I think when they were paying preview prices, audiences would be generous of spirit, especially if a director as charming as George C. Wolfe were to do a curtain speech explaining where they were in the process. I'd say that unless the text is being altered significantly, a week of previews is usually enough to bring a show to the level where you would wish it "frozen" (something that hopefully won't ever happen). I'm surprised that in this age of instant appraisal that producers don't buy themselves some forgiveness by doing this and advertising it more explicitly. Most not-for-profits do it as a matter of course. |
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| re: Unusual Occurrence at Iceman on Tuesday | |
| Posted by: NewtonUK 01:24 pm EDT 03/30/18 | |
| In reply to: Unusual Occurrence at Iceman on Tuesday - TKTSVET 01:21 pm EDT 03/30/18 | |
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| My two most memorable 'call for lines' moments were a) in a Peter Wood revival of LONG DAYS JOURNEY at the Ahmanson in L.A. - Charlton Heston and Deborah Kerr starred. Ms Kerr called for lines plaintively on several occasions b) Stritch stridently insisting on 'lines' during 'liaisons' in A LITTLE NIGHT MUSIC |
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| re: Unusual Occurrence at Iceman on Tuesday | |
| Posted by: ryhog 02:12 pm EDT 03/30/18 | |
| In reply to: re: Unusual Occurrence at Iceman on Tuesday - NewtonUK 01:24 pm EDT 03/30/18 | |
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| My most memorable was Marian Seldes at the invited dress of (IIRC) Beckett/Albee. Instead of the plaintive "line," she looked at the prompter and entreated "help me please." | |
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| Rex Harrison and Claudette Colbert | |
| Posted by: jerseymerle 02:09 pm EDT 03/30/18 | |
| In reply to: re: Unusual Occurrence at Iceman on Tuesday - NewtonUK 01:24 pm EDT 03/30/18 | |
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| Rex Harrison and Claudette Colbert, matched in a fluffy comedy in London in 1984 ("Aren't We All?"), called for lines repeatedly throughout the performance. Perhaps this was before earphones were widely used onstage. No one in the audience really minded, as the point was simply to enjoy their continuing presence at the twilight of their careers. | |
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| re: Rex Harrison and Claudette Colbert | |
| Posted by: keikekaze 04:04 pm EDT 03/30/18 | |
| In reply to: Rex Harrison and Claudette Colbert - jerseymerle 02:09 pm EDT 03/30/18 | |
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| I saw that same production, after it had played Broadway in 1985 and then toured to San Francisco either late in 1985 or early in 1986. George Rose was in it, too. In San Francisco, IIRC, nobody called for a line all evening long. They must have finally learned it by then! : ) But as you say, nobody would have minded if they had flubbed--the point of the occasion was just to see those wonderful stars. | |
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| re: Rex Harrison and Claudette Colbert | |
| Posted by: JohnDunlop 12:27 am EDT 03/31/18 | |
| In reply to: re: Rex Harrison and Claudette Colbert - keikekaze 04:04 pm EDT 03/30/18 | |
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| In "Legends!" with Mary Martin and Carol Channing, I was surprised Martin was not doing much acting even if she vaguely knew her lines. Now that I am as old as Martin in "Legends!, I understand completely. | |
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| re: Rex Harrison and Claudette Colbert | |
| Posted by: TKTSVET 11:30 pm EDT 03/30/18 | |
| In reply to: re: Rex Harrison and Claudette Colbert - keikekaze 04:04 pm EDT 03/30/18 | |
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| My only other experience with a call for "line" was Tom Courtney in The Dresser. The cast was in the midst of a scene in the office and clearly someone had lost their way. After a pause, poor Marge Redmond was propelled onto the stage and opened the door to the room (so we assumed she was the responsible party). Then Tom Courtney bellowed "Just give me the LINE! I went UP! It HAPPENS! Then poor Marge Redmond kind of slunk offstage and we could hear pages being turned furiously stage right and then a line being read out, to which Tom Courtney said "THANK YOU!" and then continued with the scene. When Marge Redmond later entered, it was to tumultuous applause! | |
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