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Posted: October 28, 2010 03:16 AM
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2Inspiring Funny Hot Scary Outrageous Amazing Weird CrazyTheater: "Driving Miss Daisy"
Sputters, "Wings" Doesn't Soar
What's Your Reaction:
Read More: Alfred Uhry , Arthur Kopit , Boyd Gaines , Broadway , Driving Miss Daisy , James Earl Jones , Jan
Maxwell , Morgan Freeman , Play , Second Stage Theatre , Vanessa Redgrave , Wings , Entertainment News
Enough cliches in that headline for you? Here are my impressions of two revivals: one Broadway and one
Off.
DRIVING MISS DAISY ** out of ****
Golden Theatre on Broadway
When they announced a Broadway revival for Driving Miss Daisy, my first reaction was, Why? Then I
saw the cast: Boyd Gaines as the son, and Vanessa Redgrave and James Earl Jones in the leads. That's
like bringing baseball's American League All Stars to a little league game. That may seem an unfair
reaction to a Pulitzer Prize winning play that went on to score Academy Award for Best Picture (andthree more, including Best Actress). So writer Alfred Uhry can take comfort in that when I say timehasn't been kind to the movie or the thin play that produced it. Like many theatergoers, I'd be happy to
see this cast in anything that interested them, but I'm afraid even they can't bring much substance to the
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show.
The story is simplicity itself: an elderly Jewish widow has grown too old to drive herself around and the
widow's son hires a chauffeur named Hoke to do the job. She resists at first but they slowly gain a
rapport from the 1940s into the 1970s as the civil rights movement swirls around them. Miss Daisylearns to see the world through his eyes (a little) and he learns to read (a little). By the end, Miss Daisyrealizes that her driver is in fact her best friend and tells him so.
It's a landmine of a show really, with the role of the chauffeur (a very particular character from a very
specific time and place, to be fair) fraught with the dangers of making decency and kindness seem like
humility or just the black man knowing his place. Spike Lee was never going to direct the film version. I
should step in here and talk about the dignity that Morgan Freeman in the original production and Jones
here bring to it. But in fact it's not noble Sidney Poitierism the role needs but the humor and specificity
both men deliver that rescues Hoke as much as possible.
Still, there's no overlooking the bald life lessons on display here. Quite simply the actors are
underwhelmed by the material. Gaines makes no more of an impression here than Dan Ackroyd did in
the film, which is more of a testament to the part then that actor's talent. Redgrave's accent may waver
(sometimes it's Southern; mostly it's just Redgravian) but she slides flawlessly from elderly to frail. Jones
also handles his part with aplomb -- how could he not? -- but there's too little clay for either of them to
mold. Still, they do manage a moment at the end as Redgrave remains fiery and probing despite beingreduced to helplessness. This pair is simply too good not to create some indelible moments.
Even though the show is in an intimate Broadway house, Driving Miss Daisy isn't helped by being a
Broadway production. If there's one asset the original had, it was an Off Broadway house and the
pleasure of seeing two actors work mostly with imagination. Here we get massive video displays on theback wall and a staircase that moves in and out to no purpose. Do we really need to see a giant Christmas
tree projected on the wall to figure out it's the holidays?
Worst of all, the car scenes (originally, I assume, handled just by placing a bench and a chair on stage
and letting the actors convince us they were in a car) are here brought to life by having the bench and
chair spin around slowly, turning left and right and doing a gentle 360 degree turn as if we need to beprompted into understanding what is going on. So the very modest charm of what was essentially a two-
hander (or rather, three-hander) is spoiled by even this mild jazzing up. That tells you how fragile the
charm of Driving Miss Daisy was in the first place.
What others said:
Ben Brantley of The New York Times praises Redgrave and Jones in general as giants, of course. "They
give responsible, intelligent performances that are infused with two old pros' joy in the mastery of their
craft. And they pull off the deft trick of registering as big as we want them to be without making the play
in which they appear seem even smaller than it is."
Joe Dziemianowicz of the New York Daily News said, "But even the one-two wallop of Vanessa Redgrave
and James Earl Jones can't make Alfred Uhry's one-act more than it is - a wispy middle-of-the-road
1 of 5
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Gabby Giffords: A Few Words
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family drama fueled by sentimentality."
Elisabeth Vincentelli of the New York Post said, "The whole point here is the leads, and they bask in the
spotlight without ever appearing to hog it. The result isn't so much a clash of the titans as a delicate,
respectful rubbing of elbows."
That ole softie John Simon of Bloomberg News raved, "With three great actors -- Vanessa Redgrave,
James Earl Jones and Boyd Gaines -- at their apogee, the enchanting revival of "Driving Miss Daisy" is
the best theater can be."
David Finkle of Theatermania said, "There's little doubt that Driving Miss Daisy is not just about a
vehicle; it's a vehicle in the old theater sense. But when stars such as this trio dispense their charms and
craft this well, audiences will be only too happy to go along for the ride."
WINGS ** out of ****
Second Stage Theatre
Unlike Driving Miss Daisy, this Off Broadway revival of Wings benefits from a sleek beautiful
production that makes the most of the Second Stage space to bring this tone poem of a play to life.
Written by Arthur Kopit, Wings seems like a story scripted by Oliver Sacks: a woman (Jan Maxwell) has
suffered some traumatic injury and can barely decipher what is happening to her in the hospital. Whenshe begins the road to recovery, this one-time aviatrix spends her days in group therapy with other
patients who have trouble verbalizing the world around them. They need to be prompted for the word for
virtually everything: elbow, the corner of the room, each other, themselves. It's exhausting andfrustrating and -- it is hoped -- beautiful in how it reveals the way we see the world.
Caryl Churchill might have witty fun with this conceit. But this show exhausts us, with the first 10 or so
minutes a barrage of strange images, doctors and nurses repeatedly asking the patient to say simple
things and our heroine's fractured delivery of her mind's confused impressions.
it settles down during the group sessions, led by Amy (January LaVoy) who is so patient and
understanding it's quietly maddening. (One of the show's surprises -- to me -- was that our hero Emily
didn't snap at Amy.) When Emily discovers that actually touching things (like snow) helps her to
verbalize what she is seeing, I think for a moment we're going to explore this and gain a powerfulmetaphor for handling words and physically grasping the world around us. But this insight leads
nowhere and we revert to more discontinuous verbalizing, with Emily slowly circling around the accident
that led her to this place.
The show is only about 66 minutes long and throughout we've understood that she is a stunt woman of
sorts, a wing walker who literally went out onto the wings of planes (the show is set many years ago, Iassume). When she finally describes in somewhat more detail the accident itself and her feeling of
release when flying, the climax doesn't pierce the way it should.
I'm not sure whether to fault the play, actress Maxwell (nominated for two Tonys this year) or the
production. But I doubt it's director John Doyle and his technical team, who create a beautifully fluid
world combining impressive visuals that never oversell the flying metaphor and an intricate sounddesign that holds your attention when the story becomes too repetitive and nonspecific. Fails to take
flight? Sure. But mostly I'm left with the impression of talented people working together to tackle a tricky
little piece that can falter at the slightest lapse.
What others said:
Ben Brantley of The New York Times said, "An elegant but uninvolving production."
Joe Dziemianowicz of the New York Daily News said, "In the end, "Wings" is a play that's easier to
admire than to enjoy and more than a little unsettling."
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160 Fans
59 FansFrank Scheck of the New York Post said, "The star is the ever-versatile Jan Maxwell, delivering a
standout performance. John Doyle, who directed the no-frills revivals of "Sweeney Todd" and
"Company," goes in the other direction here. He uses every technical trick in the book -- video
projections, surround-sound effects, endless swirling movement of performers and props -- to viscerallyconvey the mental confusion suffered by the lead character."
John Simon of Bloomberg News points out that the role was originally intended to be a woman in her
70s and said, "If age does not so much matter here, Doyle's casting and staging unfortunately do. Maxwell
is a wonderful actress, but vulnerability, essential to Kopit's portrait, is not her strong suit. In the end,
neither cast nor production erased my fond memory of the original."
Andy Propst of Theatermania said, "A bravura performance from Jan Maxwell and a top-notch
production by director John Doyle combine to make Arthur Kopit's 1978 play Wings, currently being
revived at Second Stage Theatre, one of the first "must-see" productions of the fall."
*****
Thanks for reading. Michael Giltz is the cohost of Showbiz Sandbox, a weekly pop culture podcast that
reveals the industry take on entertainment news of the day and features top journalists and opinionmakers as guests. It's available free on iTunes. Visit Michael Giltz at his website and his daily blog.
Download his podcast of celebrity interviews and his radio show, also called Popsurfing and also
available for free on iTunes. Link to him on Netflix and gain access to thousands of ratings and
reviews .
Follow Michael Giltz on Twitter: www.twitter.com/michaelgiltz
More in Entertainment...
How lucky some New Yorkers are to be able to see two great actors in any play, even this one.
Oh absolutely . It's why I live here.FOLLOW HUFFINGTON POST
Recency | Popularity
Rozanna 11:27 AM on 10/28/2010
Permalink | Share it
HUFFPOST BLOGGER
Michael Giltz 02:14 PM on 10/28/2010
Permalink | Share itComments are closed for this entry
View All
FRONT PAGE POLITICS BUSINESS MEDIA ENTERTAINMENT COMEDY SPORTS STYLE WORLD GREEN FOOD TRAVEL TECH
LIVING HEALTH DIVORCE ARTS BOOKS RELIGION IMPACT EDUCATION COLLEGE NY LA CHICAGO DENVER BLOGS
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FRONT PAGE POLITICS BUSINESS MEDIA ENTERTAINMENT COMEDY SPORTS STYLE WORLD GREEN FOOD TRAVEL TECH
LIVING HEALTH DIVORCE ARTS BOOKS RELIGION IMPACT EDUCATION COLLEGE NY LA CHICAGO DENVER BLOGS
Michael Giltz
Freelance writer and raconteur
Posted: October 28, 2010 03:16 AM
BIO
Become a Fan
Get Email Alerts
Bloggers' Index
0
3
views
0
2Inspiring Funny Hot Scary Outrageous Amazing Weird CrazyTheater: "Driving Miss Daisy"
Sputters, "Wings" Doesn't Soar
What's Your Reaction:
Read More: Alfred Uhry , Arthur Kopit , Boyd Gaines , Broadway , Driving Miss Daisy , James Earl Jones , Jan
Maxwell , Morgan Freeman , Play , Second Stage Theatre , Vanessa Redgrave , Wings , Entertainment News
Enough cliches in that headline for you? Here are my impressions of two revivals: one Broadway and one
Off.
DRIVING MISS DAISY ** out of ****
Golden Theatre on Broadway
When they announced a Broadway revival for Driving Miss Daisy, my first reaction was, Why? Then I
saw the cast: Boyd Gaines as the son, and Vanessa Redgrave and James Earl Jones in the leads. That's
like bringing baseball's American League All Stars to a little league game. That may seem an unfair
reaction to a Pulitzer Prize winning play that went on to score Academy Award for Best Picture (andthree more, including Best Actress). So writer Alfred Uhry can take comfort in that when I say timehasn't been kind to the movie or the thin play that produced it. Like many theatergoers, I'd be happy to
see this cast in anything that interested them, but I'm afraid even they can't bring much substance to the
MOST POPULAR ON HUFFPOSTBIG NEWS: Movies | Gwyneth Paltrow | The Kardashians | Bristol Palin | Smarter Ideas | More...
LOG IN | SIGN UP
LIVE UPDATES: Democratic Congresswoman Gabrielle Giffords Shot, Federal Judge KilledGet Breaking News by Email
SHARE THIS STORY
Get Entertainment Alerts
Email Comments 2
Democratic Rep. Shot,
Federal Judge Killed At
Public Event
Comments (9,610)
Suspected Arizona Shooter
Identified: Disturbing
YouTube Videos, MySpace
Comments (9,018)
Camille Grammer's Porn
Past Comes Back To Haunt
Her
Comments (1,031)
Intestinal Parasites May Be
Causing Your Energy
Slump
Comments (195)
Should The Leader Of The
Free World Dress Like
THIS?
Comments (579)
What Not To Say When
Your Loved One Is Upset
Comments (307)
GOP Congresswoman
Caught In Sexually
Suggestive Photos
Comments (1,586)
Thousands Of Birds Found
Dead In Italy
Comments (3,309)
show.
The story is simplicity itself: an elderly Jewish widow has grown too old to drive herself around and the
widow's son hires a chauffeur named Hoke to do the job. She resists at first but they slowly gain a
rapport from the 1940s into the 1970s as the civil rights movement swirls around them. Miss Daisylearns to see the world through his eyes (a little) and he learns to read (a little). By the end, Miss Daisyrealizes that her driver is in fact her best friend and tells him so.
It's a landmine of a show really, with the role of the chauffeur (a very particular character from a very
specific time and place, to be fair) fraught with the dangers of making decency and kindness seem like
humility or just the black man knowing his place. Spike Lee was never going to direct the film version. I
should step in here and talk about the dignity that Morgan Freeman in the original production and Jones
here bring to it. But in fact it's not noble Sidney Poitierism the role needs but the humor and specificity
both men deliver that rescues Hoke as much as possible.
Still, there's no overlooking the bald life lessons on display here. Quite simply the actors are
underwhelmed by the material. Gaines makes no more of an impression here than Dan Ackroyd did in
the film, which is more of a testament to the part then that actor's talent. Redgrave's accent may waver
(sometimes it's Southern; mostly it's just Redgravian) but she slides flawlessly from elderly to frail. Jones
also handles his part with aplomb -- how could he not? -- but there's too little clay for either of them to
mold. Still, they do manage a moment at the end as Redgrave remains fiery and probing despite beingreduced to helplessness. This pair is simply too good not to create some indelible moments.
Even though the show is in an intimate Broadway house, Driving Miss Daisy isn't helped by being a
Broadway production. If there's one asset the original had, it was an Off Broadway house and the
pleasure of seeing two actors work mostly with imagination. Here we get massive video displays on theback wall and a staircase that moves in and out to no purpose. Do we really need to see a giant Christmas
tree projected on the wall to figure out it's the holidays?
Worst of all, the car scenes (originally, I assume, handled just by placing a bench and a chair on stage
and letting the actors convince us they were in a car) are here brought to life by having the bench and
chair spin around slowly, turning left and right and doing a gentle 360 degree turn as if we need to beprompted into understanding what is going on. So the very modest charm of what was essentially a two-
hander (or rather, three-hander) is spoiled by even this mild jazzing up. That tells you how fragile the
charm of Driving Miss Daisy was in the first place.
What others said:
Ben Brantley of The New York Times praises Redgrave and Jones in general as giants, of course. "They
give responsible, intelligent performances that are infused with two old pros' joy in the mastery of their
craft. And they pull off the deft trick of registering as big as we want them to be without making the play
in which they appear seem even smaller than it is."
Joe Dziemianowicz of the New York Daily News said, "But even the one-two wallop of Vanessa Redgrave
and James Earl Jones can't make Alfred Uhry's one-act more than it is - a wispy middle-of-the-road
1 of 5
Alan Grayson
Gabby Giffords: A Few Words
Dylan Ratigan
A Destructive CrossroadsDON'T MISS HUFFPOST BLOGGERS
HOT TRENDS
TOP VIDEO PICKS
Queen's Royal Wedding
Rift
1 of 9
jwoww naked miley
cyrus lap dance video natalie
portman natalie
portman pregnant
snooki nude
More Celebrity News at People.com
More Celebrity News at Popeater.com
PHOTOS: Raven-Symone's
Dramatic Weight Loss
Comments (532)
Congresswoman Gabrielle
Giffords In 'Very Critical
Condition' After Shooting
READ MORE
Kate Middleton Joins
Future In-Laws at Weekend
Wedding
READ MORE
BUZZ: Are Zac Efron &
Vanessa Hudgens Back
On?
READ MORE
Willliam and Kate's Love
Story
There's No Viral Video Like
'Home'
Michelle Williams on
Keeping Heath's Memory
Alive
family drama fueled by sentimentality."
Elisabeth Vincentelli of the New York Post said, "The whole point here is the leads, and they bask in the
spotlight without ever appearing to hog it. The result isn't so much a clash of the titans as a delicate,
respectful rubbing of elbows."
That ole softie John Simon of Bloomberg News raved, "With three great actors -- Vanessa Redgrave,
James Earl Jones and Boyd Gaines -- at their apogee, the enchanting revival of "Driving Miss Daisy" is
the best theater can be."
David Finkle of Theatermania said, "There's little doubt that Driving Miss Daisy is not just about a
vehicle; it's a vehicle in the old theater sense. But when stars such as this trio dispense their charms and
craft this well, audiences will be only too happy to go along for the ride."
WINGS ** out of ****
Second Stage Theatre
Unlike Driving Miss Daisy, this Off Broadway revival of Wings benefits from a sleek beautiful
production that makes the most of the Second Stage space to bring this tone poem of a play to life.
Written by Arthur Kopit, Wings seems like a story scripted by Oliver Sacks: a woman (Jan Maxwell) has
suffered some traumatic injury and can barely decipher what is happening to her in the hospital. Whenshe begins the road to recovery, this one-time aviatrix spends her days in group therapy with other
patients who have trouble verbalizing the world around them. They need to be prompted for the word for
virtually everything: elbow, the corner of the room, each other, themselves. It's exhausting andfrustrating and -- it is hoped -- beautiful in how it reveals the way we see the world.
Caryl Churchill might have witty fun with this conceit. But this show exhausts us, with the first 10 or so
minutes a barrage of strange images, doctors and nurses repeatedly asking the patient to say simple
things and our heroine's fractured delivery of her mind's confused impressions.
it settles down during the group sessions, led by Amy (January LaVoy) who is so patient and
understanding it's quietly maddening. (One of the show's surprises -- to me -- was that our hero Emily
didn't snap at Amy.) When Emily discovers that actually touching things (like snow) helps her to
verbalize what she is seeing, I think for a moment we're going to explore this and gain a powerfulmetaphor for handling words and physically grasping the world around us. But this insight leads
nowhere and we revert to more discontinuous verbalizing, with Emily slowly circling around the accident
that led her to this place.
The show is only about 66 minutes long and throughout we've understood that she is a stunt woman of
sorts, a wing walker who literally went out onto the wings of planes (the show is set many years ago, Iassume). When she finally describes in somewhat more detail the accident itself and her feeling of
release when flying, the climax doesn't pierce the way it should.
I'm not sure whether to fault the play, actress Maxwell (nominated for two Tonys this year) or the
production. But I doubt it's director John Doyle and his technical team, who create a beautifully fluid
world combining impressive visuals that never oversell the flying metaphor and an intricate sounddesign that holds your attention when the story becomes too repetitive and nonspecific. Fails to take
flight? Sure. But mostly I'm left with the impression of talented people working together to tackle a tricky
little piece that can falter at the slightest lapse.
What others said:
Ben Brantley of The New York Times said, "An elegant but uninvolving production."
Joe Dziemianowicz of the New York Daily News said, "In the end, "Wings" is a play that's easier to
admire than to enjoy and more than a little unsettling."
Kourtney K.'s Stunning
Bikini Bod
Jane Krakowski RevealsBaby Bump
MOST DISCUSSED RIGHT NOW
HOT ON FACEBOOK
HOT ON TWITTER
House Of
Representatives
Video
NFL
Gun Control
iPad
Haiti
Earthquake
Atheism
Sarah PalinHUFFPOST'S BIG NEWS PAGES
MORE BIG NEWS PAGES »One And Done: 'Sarah
Palin's Alaska' NOT
Renewed: Report
1,228 Comments
Camille Grammer's Porn
Past Comes Back To
Haunt Her
1,031 Comments
PHOTOS: Olivia Wilde
Dons See-Through Bikini
106 Comments
PHOTOS: Raven-
Symone's Dramatic
Weight Loss
532 Comments
Ashton Kutcher: Training,
Paranoid About Real Life
'End Of Days'
904 Comments
Bill Murray Crashes
Stranger's Karaoke Party
66 Comments
Kardashians SUED
For $75 Million Over
Debit...
Director:
'Ghostbusters 3'
Script Is Ready
Gwyneth Paltrow To
Return To 'Glee'
As...
Zac Efron And
Vanessa Hudgens
Back Together?:...
Comments 2 Pending Comments 0View FAQ
160 Fans
59 FansFrank Scheck of the New York Post said, "The star is the ever-versatile Jan Maxwell, delivering a
standout performance. John Doyle, who directed the no-frills revivals of "Sweeney Todd" and
"Company," goes in the other direction here. He uses every technical trick in the book -- video
projections, surround-sound effects, endless swirling movement of performers and props -- to viscerallyconvey the mental confusion suffered by the lead character."
John Simon of Bloomberg News points out that the role was originally intended to be a woman in her
70s and said, "If age does not so much matter here, Doyle's casting and staging unfortunately do. Maxwell
is a wonderful actress, but vulnerability, essential to Kopit's portrait, is not her strong suit. In the end,
neither cast nor production erased my fond memory of the original."
Andy Propst of Theatermania said, "A bravura performance from Jan Maxwell and a top-notch
production by director John Doyle combine to make Arthur Kopit's 1978 play Wings, currently being
revived at Second Stage Theatre, one of the first "must-see" productions of the fall."
*****
Thanks for reading. Michael Giltz is the cohost of Showbiz Sandbox, a weekly pop culture podcast that
reveals the industry take on entertainment news of the day and features top journalists and opinionmakers as guests. It's available free on iTunes. Visit Michael Giltz at his website and his daily blog.
Download his podcast of celebrity interviews and his radio show, also called Popsurfing and also
available for free on iTunes. Link to him on Netflix and gain access to thousands of ratings and
reviews .
Follow Michael Giltz on Twitter: www.twitter.com/michaelgiltz
More in Entertainment...
How lucky some New Yorkers are to be able to see two great actors in any play, even this one.
Oh absolutely . It's why I live here.FOLLOW HUFFINGTON POST
Recency | Popularity
Rozanna 11:27 AM on 10/28/2010
Permalink | Share it
HUFFPOST BLOGGER
Michael Giltz 02:14 PM on 10/28/2010
Permalink | Share itComments are closed for this entry
View All
FRONT PAGE POLITICS BUSINESS MEDIA ENTERTAINMENT COMEDY SPORTS STYLE WORLD GREEN FOOD TRAVEL TECH
LIVING HEALTH DIVORCE ARTS BOOKS RELIGION IMPACT EDUCATION COLLEGE NY LA CHICAGO DENVER BLOGS
Advertise | Log In | Make HuffPost your Home Page | RSS | Careers | FAQ | Contact Us
User Agreement | Privacy | Comment Policy | About Us | Powered by Movable Type
Copyright © 2011 TheHuffingtonPost.com, Inc. | "The Huffington Post" is a registered trademark of TheHuffingtonPost.com, Inc. All rights reserved.