The review round-up here showcases local reviewers largely rising to task of wrapping language around Tony Kushner’s high octane gathering of smart progressives problem solving the impending fall of their patriarch. The play is meeting up with hugely enthusiastic audiences following Tuesday night’s triumphant opening.
Here’s an aggregate of the first wave of reviews, from…
– The Washington Post (And this kinda sums up the thematic dart to the heart of the play in one-fell-swoop) “The Intelligent Homosexual’s Guide” attempts to embody as well as illuminate a paralysis that is overtaking Gus’s children and the society at large, a slow-moving, money-fed decay that is neutralizing dissent, neutering the environment and smothering the working class.”
– Theatre Bloom 5 Stars from this pretty new (and obviously excellent) publication: “Penned to perfection with riveting plot sparks that expose deep vaults of emotional trauma the work is exceptional and divinity to the written and performance craft.”
– DC Metro Theatre Arts – 5 Stars – and this: “this show is a surfeit of surprise and substance, of significance and delight, of density and shimmering wit. And the long and the short of it is…don’t miss it.”
– Broadway World (and we’ll take a headline with “Wild and Rollicking” anytime!)
– CurtainUp – The most mixed review thus far, but even still, there’s this: “To say that Director John Vreeke has squeezed every last bit of emotion, vigor, and intensity out of his cast would be an understatement. Every actor is working at full tilt and all are a pleasure to watch. Even their physical gestures are memorable. Tom Wiggin’s Gus, Lou Liberatore’s Pill, Josh Adams’s Eli and James Whalen’s Adam are particularly strong. Lisa Hodsoll as Maeve is very funny indeed. Rena Cherry Brown as Zeeko has some of the most sardonic lines and she delivers them with dead-pan grace.”
– Maryland Theatre Guide A great shout-out to the set and scenic design: “Misha Kachman’s set is a good place to spend a few hours; its overstuffed bookcase denotes a life of reading (though it slants right instead of left). The cracks in the walls above the fireplace would denote fissures in the family as well, if they don’t crack open further when the angry son throws the bust of Italian patriot Garibaldi into it. Her brownstone facade floating ominously above them may be something you don’t notice until two hours in because of all the action on stage. The projections and sound of Jared Mezzocchi and Eric Shimelonis, respectively, perfectly frame the action and time. But there’s something timeless about the work of Kushner, brought to us in this stirring production, creating something that will stay with us.”
So that’s the first batch of reviews. The question I’ve posed to students — If, as we point out in early postings, Tony Kushner is paying homage to certain iconic American family dramas, how are those resonances manifesting themselves? Besides the aformentioned parallel between Gus and Jacob in Awake and Sing, in what ways does Kushner reference and spin and pay post-modern homage to some of our greatest American dramas?
Here’s just a partial list of some works that might come to mind as mash-up source material:
Eugene O’Neill’s Long Day’s Journey Into Night
Clifford Odets’ Awake And Sing
Arthur Miller’s All My Sons or Death Of A Salesman
Tennessee Williams’ Cat On a Hot Tin Roof
Or, in a more contemporary vein
Tracy Lett’s August: Osage County
I’m interested to read how I-HO aspires to pay its due to the masterpiece(s) and how, to whatever extent, it succeeds in establishing itself as a new family powerhouse of a play.
With more Kushnerian musings to come.