And it’s another example of powerful Steppenwolf acting, not the showcase “August: Osage County” afforded, but a symphony of provincial low-burn tyranny, nonetheless. It’s not as if American democracy suddenly is feeling more secure. And that circling of the wagons is what you get to watch here, as performed by a cast with no weak links.įor a play written some five years ago now, the work still retains remarkable currency. Surely the one Black guy in the room is an ally? Maybe the business guys? Maybe the goofy retiree, played by Pendleton, benign until his character is threatened?īut the mayor, played by Letts with the menace of surety, knows how to execute the kind of collective power too much for any dentist. The clerk (dryly played by Mueller) appears to be on the dentist’s side. Letts has structured the work as a mystery: Reid’s dentist wants to know what has happened to the minutes of a previous meeting and why a potential whistleblower (played with earnest intensity by Barford) has disappeared. Todd Freeman, Danny McCarthy, Jessie Mueller, Sally Murphy, Austin Pendleton, Jeff Still, the excellent newcomer Noah Reid as the town dentist and the scary playwright himself as the town mayor - Letts is continuing the theme that dominates his best-known play to date, “August: Osage County.” In this play - which features a Steppenwolf-heavy ensemble cast comprised of Ian Barford, Blair Brown, Cliff Chamberlain, K. One community at a time.Īs we all know, whatever side we’re on, small-town democracy is fast turning into a zero-sum American game. But this intense play now feels aimed not so much at Trumpism but at how small-town councils and school-board meetings are turning into war zones, their traditional reliance on Robert’s Rules of Order supplanted not just by screaming matches but by quietly devastating executions of majority power. Thanks to COVID-19, the show’s move to Broadway took years, not minutes. Shapiro’s sizzling Steppenwolf Theatre production felt like a takedown of Donald Trump’s triumphalist America, too engaged in self-promotion to confront the unsavory aspects of its own origin story. Lane/Bonnie Comley/Leah Lane, Kathleen Johnson, Emily Dobbs, Jacob Soroken Porter, and The Shubert Organization.NEW YORK - When I first saw Tracy Letts’ “The Minutes” in 2017 in Chicago, director Anna D. The producing team on Broadway is led by Jeffrey Richards, Rebecca Gold, Carl Moellenberg, Spencer Rosswith Jayne Baron Sherman, Elizabeth Armstrong, Blakeman Entertainment, Ricardo Hornos, Across the River Productions, Stewart F. The Minutes features scenic design by David Zinn, costume design by Ana Kuzmanic, lighting design by Brian MacDevitt, sound design and original music by André Pluess, hair and wig design by Tom Watson, choreography by Ty Defoe, dramaturgy by Edward Sobel, and casting by Caparelliotis Casting. Todd Freeman ( Airline Highway, One Flew Over the Cuckoo’s Nest), Tony nominee Austin Pendleton ( Choir Boy, The Diary of Anne Frank), Ian Barford (recently seen in Letts' play Linda Vista on Broadway), Cliff Chamberlain ( Superior Donuts, Homeland), Danny McCarthy ( To Kill a Mockingbird, The Iceman Cometh), Sally Murphy ( Linda Vista, August: Osage County), and Jeff Still ( To Kill a Mockingbird, Oslo). Letts is part of a cast that also features Tony Award winner Jessie Mueller ( Waitress, Beautiful), Golden Globe nominee Armie Hammer ( Call Me By Your Name, Straight White Men), Tony winner Blair Brown ( The Parisian Woman, Copenhagen), Tony nominee K. Shapiro Talks Running the Country’s Largest Ensemble Theatre
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