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shippingdragons · 1 month

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Toby Stephens Returns to the New York Stage to Investigate the Media In ‘Corruption’

Stephens talks about playing Tom Watson, the member of Parliament who pursued the investigation of the UK phone hacking scandal. “We’re still living in the aftermath of all the stuff that came out," he says.

By Harry Haun • 03/25/24 4:55pm

Toby Stephens as Tom Watson in Corruption at Lincoln Center’s Mitzi E. Newhouse Theater. T Charles Erickson

“I love doing what I do on stage,” declares Toby Stephens, more joyfully than boastfully. Call it a (very) early calling. The gifted offspring of genuine theatrical royalty (Sir Robert Stephens and Dame Maggie Smith), he plies the family trade with distinction on two continents. He can’t help it.

When Broadway first saw Stephens, he was drawing double duty in the 1999 revival of Jean Anouilh’s Ring Round the Moon, playing patrician twins who turn into romantic rivals. A quarter of a century later he has finally returned to New York in Corruption, where he is one of just two actors in a company of 13 who does not play multiple roles.

Stephens portrays Tom Watson, a British Parliament member who helped squeeze a death rattle out of Rupert Murdoch’s News of the World for hacking the phones of thousands of celebrities. Playwright J.T. Rogers adapted Watson and journalist Martin Hickman’s 2012 book Dial M for Murdoch: News Corporation and The Corruption of Britain into Corruption, currently getting a world-premiere staging from Bartlett Sher at Lincoln Center’s Mitzi E. Newhouse Theater, the site of the duo’s previous Tony winner, 2016’s Oslo.

In the 25 years between his New York stage sojourns Stephens has been busy doing his thing “in an industry that’s becoming more and more precarious,” he tells Observer. That’s meant keeping “a variety going,” trading movie roles like the Bond villain Gustav Graves in Die Another Day with a turn as Hamlet with the Royal Shakespeare Company. “I still try to balance theater with making money. That’s what it comes down to—finding that balance.”

What was the lure that brought Stephens back to New York? “A number of things,” he begins. “Firstly, I worked with Bart and J.T. on Oslo in London and enjoyed the experience. Secondly, Corruption is a new piece. Really interesting new writing is quite rare these days. Lots of revivals are done, but I really want to work on something new.” And then there’s focus of Corruption: the media, privacy, and truth itself. “It’s an important subject because we’re still living in the aftermath of all the stuff that came out. It’s still on-going.”

It’s not been an easy play to bring off. “There’s a point in rehearsals and previews where you suddenly feel like ‘Oh, I’m in control of this. It’s not in control of me,’” he says. “What I hate is when you aren’t quite in control of the material. It’s just beyond your fingertips.” The challenge of Corruption was its complexity. “The play is freighted with information, and you have to get that across and make it all seem naturalistic and real. You must leave the audience believing this narrative.”

Adding to the complexity, the show changed throughout previews, a process Stephens calls “terrifying,” though, “that’s how J.T. and Bart work,” he adds. Some of the changes were subtle, others were major. “By the time we reached the first night, it was a very different piece than what we started with. The skeleton was there, but the way we told the story was different. They tightened it up, cut things, rearranged things, even put new scenes in.” Still, there was enough time to work with the material that by opening night Stephens had found the control he was looking for. “I had fun because I knew it was cemented and this would be the piece we’re doing.”

How deeply did Stephens delve into the character of the man he was playing? “Not very,” the actor admits. “I know of him because I’m aware politically in the U.K. I read the newspaper and follow current affairs. I’ve watched him through the years. In terms of research, I believe the play is the play. That’s my main touchstone. I have to trust J.T. has done thorough research, which he has.”

Tom Watson, Toby Stephens, playwright J.T. Rogers, and director Bartlett Sher on opening of Corruption. Tricia Baron

In fact, Stephens opted not to read the book the play is based on. “I find doing loads of research—beyond what the material is— isn’t helpful. All that does is confuse and muddy what you’re doing,” he says. “My business is to do the play I’m given and make my character dramatic and nuanced enough for audiences to deal with.”

So for Stephens, the research is the script, though he does admit one addition to get Watson’s accent right. “He’s got an accent that’s quite broad when he’s talking as himself, but when he’s in Parliament or talking officially, it’s slightly subtler,” he says. To nail that, he watched “a lot of videos—but up to a point. I don’t want to do an impersonation.”

Tom Watson was a surprise guest at Corruption’s opening. “Thank God, I didn’t know that he was present,” Stephens sighs. “Afterwards, Tom said, ‘If this play was done in London, it would be a lightning rod.’ I think he’s right about that. It’s still very fresh in people’s memory. There’s still legal action against newspapers for hacking.” Though Watson had read the play before seeing it, Stephens thinks he was slightly stunned by the whole thing. “Actually seeing it, seeing somebody else playing you, is a completely different thing. You’ve got someone who has lived the real story, and you’re doing a simplified version of that. But I think that he was very, very impressed by the show. ”

#toby stephens #corruption play #lincoln center theater #Broadway #theater #interviews #tom watson

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misterbungee · 1 month

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Why is it impossible to find out who designed a playbill cover this is driving me crazy. I can not rest until I've figured out who designed the oobc A New Brain one and I hate how I can't find anything. Only thing I know is that the artist likely also designed playbills for other shows at Mitzi E. Newhouse

#broadway #playbill #broadway nerds help me #a new brain

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tobys-walrus-crew · 2 months

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NEW: Tonight the Lincoln Center Theater production of Corruption Play will open at the Mitzi E. Newhouse. Written by J.T. Rogers and directed by Bartlett Sher it features Toby Stephens as Tom Watson.

Get a first look at footage from the production!

#toby stephens #corruption play #corruption #lctheater #lct #lincoln center theater

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droughtofapathy · 1 month

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"Welcome to the Theatre": Diary of a Broadway Baby

Corruption

Oh, it's long, but it's worth it. Based on the real events in 2011 Britain, this play depicts the phone-hacking scandal that turned UK politics and journalism upside down. Now, obviously because it's based on a memoir written by some of the people who uncovered the Murdoch media scandal, it's very clear who's on the right side (even if the play does a good job making even its protagonists pretty dickish). I'm a big fan of a large ensemble show where actors play multiple roles, weaving in and out of characters like chameleons. Act two picks up the pace from a slower act one, and tensions are fraught. I'm glad there's still room for smart, serious, somewhat tedious dramas.

Verdict: A Lovely Night

A Note on Ratings

#off-broadway #welcome to the theatre: diary of a broadway baby #corruption play #lincoln center theater #okay but the actress playing the main antagonist is so attractive i love a woman with curly red hair who wears stockings and pencil skirts

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lapdropworldwide · 2 years

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A Fun Party Gets Going in ‘Epiphany.’ Then the Ghosts Arrive

Jeremy Daniel Quite besides the actors, John Lee Beatty’s set and Isabella Byrd’s lighting are the stars of Epiphany, a play set in “a very old house, on the banks of a large river, just north of a big city.” As the audience is watching David Watkins’ play at Lincoln Center’s Mitzi E. Newhouse Theater (opening tonight, to July 24), the assumption is we are somewhere outside somewhere like Hudson,…

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blackonbroadway · 4 years

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Montego Glover attends Harold And Mimi Steinberg Charitable Trust Hosts 2019 Steinberg Playwright Awards at Lincoln Center Theater, Mitzi E. Newhouse Theater January 13, 2020 in New York City

#montego glover #black actress #actress #photo op

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papermoonstheatricaldiary · 7 years

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FAR EAST

February 3, 1999

FAR EAST is a play by A.R. Gurney. It was first produced at the Williamstown Theatre Festival, Massachusetts, in July 1998. It was produced off-Broadway the following year. It has since been produced in regional theatres in Washington, DC and Laguna, California.

The play's story draws on events from Gurney's own life, which were first hinted at in a scene from his popular 1989 play, Love Letters. At one point in that show, a young American Navy lieutenant is stationed at a base near Tokyo during the Korean War and falls in love with a Japanese woman, despite his parents' objections. Gurney turned that brief episode into this full-length work which invokes the style of traditional Japanese theater.

FAR EAST was produced off-Broadway by Lincoln Center Theatre (LCT) at their Mitzi E. Newhouse auditorium from January 10 to June 6, 1999. The director was Daniel Sullivan, with scenery by Thomas Lynch, costumes by Jess Goldstein and lighting by Rui Rita. The cast featured Michael Hayden (Sparky Watts), Sonnie Brown (Reader), Lisa Emery (Julia), Bill Smitrovich (James Anderson), and Connor Trinner (Bob Munger). This production was adapted for the PBS series "Stage on Screen" in 2001.

I'm a fan of Gurney, having seen quite a few of his plays. Despite their cold, Waspy pretentions, some are very engaging. This one, not so much. Set in the 1950s, the Madame Butterfly-type story seemed overly familiar, even if one hadn't seen the opera, or even the film From Here To Eternity. The gimmick here (Gurney often employs one) is that the play is staged using Japanese theatre traditions: the reader, the visible stagehands in blacks, etc. Still, it felt flat and familiar. The cast couldn't be faulted. Michael Hayden was a familiar face at Lincoln Center, having made an impression as Billy Bigelow in their Carousel as well as with Kevin Kline in their Henry IV. I also saw him on Broadway in Enchanted April, in which he made less of an impact, but that may be due to the nature of the female-centric script. I later saw the teleplay of FAR EAST and my opinion did not change. FAR from intriguing.

FAR EAST rates 2 Paper Moons out of 5

#Far East #A.R. Gurney #Lincoln Center Theatre #off-Broadway #Mitzi E. Newhouse Theatre #Michael Hayden #Bill Smitrovich #Lisa Emery #Daniel Sullivan #1999

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hdtv267 · 4 years

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broadwayworld · 7 years

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Lincoln Center Theater has announced that it will bring the critically-acclaimed, Drama Desk and Obie award-winning production of THE WOLVES, a new play by Sarah DeLappe, directed by Lila Neugebauer, to the Mitzi E. Newhouse Theater this fall.

#BroadwayWorld #Broadway #NYC #Musical #Musical Theatre

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newyorktheater · 5 years

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Four shows are opening on Broadway in March. Two of them are transfers from Off-Broadway that thrilled audiences in very different ways: “Be More Chill” and “What The Constitution Means To Me.” The other two bring to Broadway some beloved tunes — a revival of Cole Porter’s “Kiss Me Kate” and “Ain’t Too Proud: The Life and Times of the Temptations”

But as savvy New York theatergoers know, Broadway ain’t the half of it: For every “Ain’t Too Proud” on Broadway, there’s an “Ain’t No Mo'” Off-Broadway. Among the shows opening Off-Broadway in March:

Daveed Diggs in White Noise by Suzan-Lori Parks (Public Theater)

Playwright Suzan-Lori Parks – White Noise

Florian Zeller

Alan Cumming in Daddy by Jeremy O. Harris (Vineyard and the New Group)

Daveed Diggs in “White Noise,” a new play by Suzan-Lori Parks (Top Dog/Underdog); Isabelle Huppert in The Mother, a new play by Florian Zeller (The Father); Alan Cumming in “Daddy,” a new play by Jeremy O. Harris (Slave Play.)

Below is a selective list of Broadway, Off-Broadway, Off-Off Broadway and festival offerings in February, organized chronologically by opening date, with each title linked to a relevant website. Color key of theaters: Broadway: Red. Off Broadway: Black, Blue, or Purple. Off Off Broadway: Green. Theater festival: Orange. Puppetry: Brown. Immersive: Magenta.

To look at the Spring season as a whole, check out my Off Broadway Spring 2019 preview guide and my Broadway 2018-2019 season guide

March 1

Ajijaak on Turtle Island (New Victory)

A “family-friendly First Nations spectacle.” Separated from her family in a Tar Sands fire, the crane Ajijaak makes her first migration from Canada to the Gulf Coast alone, discovering the strength of her song along the way.

Chained: A Victorian Nightmare: (FOST at Starrett-Leigh Building )

An immersive theater VR adaptation of Charles Dickens’s A Christmas Carol. Tickets sold only as an add-on to the FOST (Future of Storytelling) Story Arcade, which is described as a “pop-up, showcasing a… sampling of immersive, experiential, and multi-sensory exhibits.”

March 5

Daddy (Vineyard at Signature)

In the second Off-Broadway play by Jeremy O. Harris (who gained some notoriety with his Slave Play in the fall), Alan Cumming plays Andre, an older white art collector who befriends Franklin, young black artist on the verge of his first show. Their bond creates a battle of wills with Franklin’s mother.

The Cake (MTC at City Center)

In what sounds like a recent Supreme Court case, Debra Jo Rupp portrays a baker in North Carolina who refuses to create a wedding cake for a same-sex couple. The difference — one of the brides is the daughter of a dear friend, now deceased. The play is by Bekah Brunstetter (who writes for the TV series This Is Us.)

March 7

Fleabag (Soho Playhouse)

The play by Phoebe Waller-Bridge that inspired the BBC television series currently being shown on Amazon Prime.

Actually We’re F**ked (Cherry Lane)

In this play by Matt Williams, “four millennials gather every Thursday to order take-out, drink too much wine, and argue over how to unf**k the planet.”

Chick Flick The Musical (Westside Theater)

In this musical by Suzy Conn, four friends gather to unwind, watch a chick flick and play their favorite chick flick drinking game.

Chimpanzee (HERE)

A “non-verbal puppet play based on true events.” An aging, isolated chimpanzee pieces together the fragments of her childhood in a human family

March 10

Be More Chill (Lyceum)

Broadway transfer of the teenage cult musical about high school student Jeremy Heere who sees himself as a loser but then swallows a pill containing a supercomputer and becomes cool — but at what cost?

My review of Be More Chill Off-Broadway

If Pretty Hurts Ugly Must Be a Muhfucka(Playwrights Horizons)

In the village of Affreakah-Amirrorkah, no one questions that Akim is the one true, perfect beauty — not even her jealous classmates. But they’ll be damned before they let her be the leading lady in this story. A decidedly contemporary riff on a West African fable by Tori Sampson

March 11

The Mother (Atlantic)

Isabelle Huppert stars in a play by Florian Zeller (The Father) as a woman suffering from clinical depression and grasping for stability after her grown children move on to build lives of their own.

Southern Promises (Flea)

A revival of Thomas Bradshaw’s incendiary 2008 play: On his deathbed, a plantation owner vows to set his slaves free, but when his wife rejects the request chaos erupts on the plantation.

March 12

Ashes (HERE)

In a small village in the south of Norway, a young man sets houses on fire, and a writer seizes them as literary material several decades later. From Plexus/Polaire, the Norwegian/French avant-garde theater company that in January presented Chambre Noir

March 13

Surely Goodness and Mercy (Keen Company at Theater Row)

In this play by Chisa Hutchinson (“She Like Girls,” “Dead & Breathing”), a Bible-toting boy with a photographic memory befriends the cantankerous old lunch lady in an underfunded public school in Newark.

Hatef**k (WP)

In this play by Rehana Lew Mirza, passions ignite when Layla, an intense literature professor, accuses Imran, a brashly iconoclastic novelist, of trading in anti-Muslim stereotypes. But as their attraction grows into something more, they discover that good sex doesn’t always make good bedfellows.

March 14

Kiss Me Kate (Roundabout at Studio 54)

Kelli O’Hara and Will Chase star as warring ex-lovers forced to portray the warring couple of Shakespeare’s ‘The Taming of the Shrew’ in this third Broadway revival of Cole Porter’s 1948 musical. The winner of the first-ever Tony Award for Best Musical, the show features such familiar tunes as “Too Darn Hot,” “So In Love” and “Always True To You In My Fashion.”

Georgia Mertching is Dead (EST)

In this play by Catya McMullen, three 30-year-old women who have been friends since high school set off on a road trip south–with homemade female urination devices, too much pie, ill-advised sexual escapades–to celebrate and mourn a figure from their past.

Rogues Gallery (Broken Ghost)

Unleash your inner villain in this fully immersive evening of world conquest and inevitable betrayal!

March 18

Culturemart Festival (HERE)

Cannabis! by Baba Israel, 9000 Paper Balloons by Spencer Lott & Maiko Kikuchi,Songs of Sanctuary for the Black Madonna by Imani Uzuri,A Voluptuary Life by James Scruggs,Paper Room by Laura Peterson

Nantucket Sleigh Ride (Lincoln Center’s Mitzi Newhouse)

Written by John Guare and directed by Jerry Zaks (the pair behind House of Blue Leaves and Six Degrees of Separation) this new play stars John Larroquette as a New York playwright turned stockbroker revisiting a wild event that happened 35 years ago on that island.

March 19

Juno and the Paycock (Irish Rep)

Part of the theater’s season of Sean O’Casey, the play is a devastating portrait of wasted potential in a Dublin torn apart by the chaos of the Irish Civil War. When a handsome visitor arrives with news of an inheritance, the Boyle family begins to plan their new life, but their apparent salvation soon reveals itself to be the cause of their ruin

March 20

White Noise (Public)

Daveed Diggs (Hamilton) returns Off-Broadway in a new play by Suzan-Lori Parks, directed by Public Theater artistic director Oskar Eustis. Long-time friends and lovers Leo, Misha, Ralph, and Dawn are educated, progressive, cosmopolitan, and woke. But when a racially motivated incident with the cops leaves Leo shaken, he decides extreme measures must be taken for self-preservation

St. Peter’s Foot (UP Theater)

Mike and Roma think they made the right decision in not having children. Then a baby is left on their doorstep

March 21

Aint Too Proud (Imperial)

“Ain’t Too Proud: The Life and Times of the Temptations” stars Jeremy Pope (Choir Boy) as Eddie Kendricks, Ephraim Sykes as David Ruffin, etc. This new musical with a book by Dominique Morisseau helmed by the director of “Jersey Boys” follows The Temptations’ journey from the streets of Detroit to the Rock & Roll Hall of Fame.

March 25

Accidentally Brave (DR2 Theater)

Actor and playwright Maddie Corman shares her true story of what happened after her husband was arrested on a shocking charge.

March 27

The Lehman Trilogy (Park Ave Armory)

Italian playwright Stefano Massini’s play, adapted by Ben Power and directed by Sam Mendes (The Ferryman!) stars acclaimed actors Simon Russell Beale, Adam Godley, and Ben Miles and the Lehman brothers and their sons and grandsons over nearly two centuries, climaxing with the end of the firm that bore their name in the crash of 2008.

Ain’t No Mo’ (Public)

In this satire by Jordan E. Cooper that began at the Fire This Time Festival, African-Americans leave en masse a country plagued with injustice.

March 31

What The Constitution Means To Me (Helen Hayes)

Fifteen-year-old Heidi Schreck earned enough money for her college tuition by winning Constitutional debate competitions across the United States. Now, the Obie Award winner resurrects her teenage self in order to trace the profound relationship between four generations of women in her own family and the founding document that dictated their rights and citizenship. My review of the play Off-Broadway

Do You Feel Anger? (Vineyard)

In this play by Mara Nelson-Greenberg , Sophia is hired as an empathy coach at a debt collection agency

March 2019 New York Theater Openings Four shows are opening on Broadway in March. Two of them are transfers from Off-Broadway that thrilled audiences in very different ways: "Be More Chill" and "What The Constitution Means To Me." The other two bring to Broadway some beloved tunes -- a revival of Cole Porter's "Kiss Me Kate" and "Ain't Too Proud: The Life and Times of the Temptations"

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caroleditosti · 5 months

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'The Gardens of Anuncia' Theater Review

'The Gardens of Anuncia' is an evocative, stylized musical inspired by the childhood of Graciela Daniele.

(L to R): Priscilla Lopez, Kalyn West in The Gardens of Anuncia (Julieta Cervantes) In order to deal with the past, sometimes memories must be altered to beautify the ugliness of their reality. This is one of the themes in Michael John LaChiusa’s musical, The Gardens of Anuncia, directed and choreographed by Graciella Daniele. The Gardens of Anuncia is currently running at Lincoln Center’s Mitzi…

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#Andrea Burns #Eden Espinosa #Enrique Acevedo #Graciela Daniele #Kalyn West #Lincoln Center Theater #Mary Testa #Michael John LaChiusa #Mitzi E. Newhouse #Priscilla Lopez #Tally Sessions #The Gardens of Anuncia

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shippingdragons · 1 month

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Interview: Unpacking Corruption, With Stars Saffron Burrows and Toby Stephens

Stephens and Burrows star in the latest play from dramatist J.T. Rogers and director Bartlett Sher at Lincoln Center Theater.

David Gordon Off-Broadway March 25, 2024

Following up on the massive, international success of Oslo, playwright J.T. Rogers and longtime director Bartlett Sher have turned to another socio-political subject for their newest theatrical collaboration at Lincoln Center Theater. Corruption, running through April 14 at the Mitzi E. Newhouse Theater, tells the story behind the 2011 phone-hacking scandal that upended British politics and almost brought Rupert Murdoch’s media empire down.

The David-and-Goliath story, which Rogers presents in customarily epic form, follows Parliament member Tom Watson as he takes on News of the World editor Rebekah Brooks, not only risking his career, but also his life, to expose the nefarious goings on. Taking on these two roles are esteemed actors Toby Stephens (who last collaborated with Rogers and Sher in the National Theatre production of Oslo) and Saffron Burrows, a film and tv regular making her New York stage debut.

Both Burrows and Stephens recognize the importance of this particular story — they lived it in their native England, after all — and also the controversy that could come with it. Here are excerpts from a recent coversation we had with them.

Having lived through this case in real time, what was it like when you first read the play? At times it felt like watching a Shakespearean history play.

Toby Stephens: Bart and J.T. kept on comparing it to Shakespeare plays, and I always slightly wince when things are compared to Shakespeare. It’s like the history plays because it moves around so much; you’re suddenly in all these different locations and following different characters with disparate interests, and they’re politically and morally complex. In that regard, it’s true. We’re dealing with an incredibly complex story and the morality is very interesting. Tom Watson is slightly ambiguous in a sense: he’s done bad things in the past, but he is obsessed by bringing down this woman because he has been hurt by that machine.

Personally, I think it’s about time somebody wrote about this. It was such a massive story and there are so many different parts of this thing, and they were getting away with it. But everyone was so terrified of attacking them because then they would become a target themselves. So, it’s about time somebody wrote a play, but you understand the fear. An American writer can do this, but if you were a British playwright, you’d probably think twice, because they’re still very influential and powerful.

Saffron, your character, Rebekah Brooks, is obviously the “villain” of the piece. How did you find your way into that?

Saffron Burrows: It’s tricky terrain to navigate. Clearly, there are about four white cis men running the world right now, and I didn’t want it to just be that the woman’s the demon, you know? Because there’s a whole mechanism at play. In rehearsals, we talked about how this is a story about what happens when capitalism starts to eat itself and ravages society. The writing became more and more nuanced. J.T. refined and refined it, so there’s now a scene where it becomes evident that Rebekah, too, is part of an order of things. There’s some subtle stuff at play between her and her superior now, which helped me a lot because she too has her adversaries that she has to tackle.

Bart and J.T. have obviously worked together for decades now. As actors, what is it like to be welcomed into their collaboration? I know, Toby, you did Oslo in the West End.

Saffron: I was struck by how truly collaborative Bart and J.T. are. It’s a new play and it was evolving throughout the rehearsal period, and I loved that part of the process. They’ve got huge creative confidence about their own skills, which made it all the more collaborative. Members of our company would bring in stories and things they read, so it was evolving daily. It’s a lovely, exciting way to work.

Toby: Oslo, in a way, was an inherited play. The great people who did it in the Mitzi Newhouse handed it onto us and we got that script and did our own thing with it. One of the reasons I wanted to do Corruption was because it’s a new play, not yet another revival, and it’s about something that’s really important. It was very collaborative. It’s really exciting when you’re working on something that is still finding where it wants to go, as they figured out how to tell this incredibly complicated story in a way that not only an American audience will follow, but will draw their own parallels with. The Oslo experience was different because we got something they knew works. The interesting thing about this is that it’s not a particularly optimistic play. There are optimistic parts about it, in that it’s about people who are fighting against the system and care about that, but at the moment, the system is winning.

What do you think audiences in England would make of this play?

Toby: I really don’t know. I think it would be hugely controversial. There’s a huge amount of vested interest there in people who were part of that system and who are part of the story. Doing it here is almost safe, in a way, because you’re doing it in a different country.

Saffron: I had a friend come to opening who, not to name names, but she’d been hacked, and then she reminded me that I’d had someone go through my bins in the early 2000s, and then went to my grandmother’s house when my mom was walking my five-year-old brother to school. That was a bad period, but when my friend reminded me of the details I thought “Jesus.” I’m sure it happened to Toby, too. It’s absurd how low the bar was in terms of what you’d expect from “journalists” — journalists in quotes. So I agree, Toby, I think it would be very close to the bone in London. Some people who are in power now are depicted in the play, so it’s present-day, relevant, and powerful. It would be quite electric having it there.

Toby: I had a friend, he’s not even famous, he was just going out with somebody moderately successful and she was going through a divorce, and his father, who was 80, found these so-called journalists on their doorsteps saying “What do you say about your son?” It was deeply upsetting for him because dad was so confused by the whole thing. He didn’t understand why it was happening. That’s just a minor, minor case. This is a discussion that’s still going on. Doing it in London, in the heart of this whole system, I would imagine would be really, really chilling and scary, to some degree.

#toby stephens #lincoln center theater #corruption play #broadway #theater #interviews

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mikethefanboy · 5 years

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TTM Tues! Successes From The Stars Of Steel Magnolias! Game of Thrones! Sons of Anarchy! Night Court! Groundhog Day! And More!

It’s TTM Tues! And Woo to the hoo!

If you love Night Court, hit up John Larroquette!

Nantucket Sleigh Ride Mitzi E. Newhouse Theater 150 West 65th Street New York, NY 10023′

LA Law and Sons of Anarchy star Jimmy Smits has been great with fanmail.

Box 49922 Barrington Station Los Angeles, CA 90049

MASH star Sally Kellerman is super sweet to fans!

21711 Ventura Blvd Unit #240 Woodland Hills CA…

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#celebrity addresses #fanmail #fanmail address #stars addresses #ttm #TTM autograph address #write to the stars

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mega-mitkam-universe · 5 years

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Tie one of these wet pants legs around your neck: Wayne Shorter, Bill Evans, John Guare, Hal Blaine, Monk Rowe, Henri Crolla, Buster Keaton: Photos, Videos

John Guare’s works include The House of Blue Leaves, Atlantic City and Six Degrees of Separation. His new play, Nantucket Sleigh Ride, is at New York’s Mitzi E. Newhouse Theater at Lincoln Center Theater.

Wait until you read about the man-cave beach house his father built in 1930 and how his parents inspired him to write plays.

John Guare on Six Degrees of Separation...

SiriusXM. Last…

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droughtofapathy · 2 months

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"Welcome to the Theatre": Diary of a Broadway Baby - March 2024 (Total: 17)

Songs from Women at the Table March 4, 2024 | 54 Below | Evening | Cabaret | 1H 25M

Come Spirit Come Charm: A Tribute to the Life and Music of Lucy Simon March 25, 2024 | Joe's Pub | Evening | Concert | 1H 25M

Windows March 26, 2024 | Town Hall | Evening | Reading | 2H

Rendezvous with Marlene March 28, 2024 | 54 Below | Evening | Cabaret | 1H 25M

#broadway #musical theatre #theatre #off-broadway #welcome to the theatre: diary of a broadway baby

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