Saturday 24 October
Washington DC, Ford’s Theatre • Among so many needlessly loud musicals, Come From Away (2013) demonstrates how impactful a modestly scaled musical can be when the emphasis is placed on the fluency of the storytelling. Expertly paced, full of clever transitions allowing the cast to change characters in record time, this production of Come From Away, like those before it, touched me with its simple tale of humanity in the wake of the tragedy of 9/11.
Arlington VA, Signature Theatre • With its longstanding association with Sondheim musicals, Arlington’s Signature Theatre had already produced Merrily We Roll Along quite successfully in 2007. This new production provided yet another demonstration of the potency of the show when the director trusts the audience’s instincts. I enjoyed hearing the woman behind me decipher the puzzle as time rolled back… particularly when Charley, in the closing scene, told Frank to “write about what you know” while pointing at his heart, a piece of advice Frank had recycled rather cheaply when talking to an admirer in the opening scene. The orchestra sounded fantastic — the oboe countermelodies struck me to the heart — and the two understudies in leading roles once again left me in awe — especially Stephen Russell Murray’s scene-stealing performance as Charley.
Monday 26 October
Paris, Théâtre de la Ville • Angelin Preljocaj’s Soulèvement (Uprising) seemed eerily timed as France was once more the scene of spectacular demonstrations. The wow factor stopped there, as there was very little originality to be found in a succession of dimly lit tableaux mostly showcasing the seemingly inexhaustible energy of its young, enthusiastic cast. The 75-minute performance easily felt like three hours, never a good sign.
Tuesday 27 October
Paris, Théâtre de l’Atelier • Nicolas Chaigneau’s Derrière belongs in the category of “‘why?’ shows,” unable as it was to build upon its one good idea — to have the actors play to prerecorded dialogue. There was no rhyme or reason to what was happening on stage, a lost opportunity to design a robust, absurdist plot that could have brought coherence to the proceedings. I was fascinated to see a few audience members eager to laugh at every line while many others stared in consternated disbelief.
Wednesday 28 October
Paris, Théâtre du Gymnase–Marie-Bell • David Seidler’s The King’s Speech was given a strong French-language production (as Le Discours d’un roi) starring Philippe Torreton as the future King George VI and Francis Huster as his speech therapist, Lionel Logue. Obviously produced on a shoestring, the play nevertheless found its emotional footing thanks to its sharp, economical writing and expert performances. All in all, the 105-minute play went by in a wink.