| I've seen just about all of the iterations, including the last London revival with the stellar Lynn Redgrave (twice in the same week yet). That was my favorite, as the British company just found that effortless approximation of an exhausting rehearsal process that is annotated in their own lexicon. It seemed so real, especially the first act, the comedy sprang forth without any push. Therein lies the secret: to not work too hard at the comedy in the first half. When it's hit, it doesn't float, because it's not all that joke-laden. Redgrave wasn't a clown, and her Dottie seemed like a real English actor of a certain age and profile. No work was required to create that world-weariness. That's how the play works, when it begins almost as if we're eavesdropping on this beleaguered company. |
