A Stoppard Play with an All-Star Cast
On October 30, 2014, The Real Thing opened at the American Airlines Theatre, one of the Roundabout Theatre Company’s three Broadway venues. The play, a classic by Tom Stoppard (Arcadia, Rock n Roll, Rosencrantz and Guildenstern are Dead) originally produced in 1982, was directed by Sam Gold, a relative newcomer who has taken New York theatre by storm with such productions as The Realistic Joneses, Seminar, and many Off-Broadway hits. With such a creative team behind it, the production was able to a number of Hollywood stars. Two are making their Broadway debuts: Maggie Gyllenhaal (The Dark Knight, Donnie Darko, White House Down) and Ewan McGregor (Trainspotting, Big Fish, Star Wars). Furthermore, the show stars Cynthia Nixon (Sex and the City, Broadway productions including Wit, Rabbit Hole, Angels in America) as well as Josh Hamilton (Dead Accounts, The Coast of Utopia, Proof). With all of these powerhouse names behind it, the show was destined to be a critical hit. However, something the perfect ingredients do not make the perfect stew, and in this case, the result was sadly underwhelming.
Mixed Reviews from Critics
The most influential of New York theatre critics, Ben Brantley of The New York Times, gave The Real Thing a review that was all but disdainful. He called the revival “tinny,” and claimed that the production lacked any real evidence of chemistry between the performers, or any sort of deep feelings in general. The beauty of Stoppard’s work often lies in the fact that his words may be highly complex and intellectual, but there is a deep humanity bubbling beneath the surface. Brantley’s view is that this production (due to a mixture of casting and directing) lacked that crucial underlayer. Other reviewers were less critical, falling prey to the combination of writing and fame onstage that can persuade the audience they are enjoying a well-done production. Mark Kennedy of the Associated Press, for example, thought the revival was thoroughly excellent, and enjoyed the interspersed tunes that Sam Gold opted to include between scenes, often hummed along by the actors. Thom Geier of Entertainment Weekly also praised the production, perhaps delighted merely to see his Hollywood favorites onstage. He claimed Gyllenhaal’s performance oozed poise and sophistication, which may be true, but the argument could also be made that the softness beneath was missing. David Rooney from the Hollywood Reporter was more on the fence, correctly praising Ewan McGregor’s Broadway debut for the professional excellence of his performance, but also calling Gold’s direction “hollow.”
Struggling at the Box Office
It is always interesting to follow how the combination of recognizable playwright, famous actors, and critical response has on the box office. In this case, audiences were not moved by the result, certainly not enough to make this show stand out financially. The show has never reached more than 77.56% of its gross potential in any given week, and the weekly numbers have been squarely in the $400,000 range for each week. With stars such as McGregor, Gyllenhaal, and Nixon onstage, this is almost an insult. And for the true theatre aficionados, the fact that a Stoppard play would be given this treatment is just a shame. However, given that the revival is produced by Roundabout, a not-for-profit theatre institution with an endowment and a subscriber base to keep it afloat, the show will likely be able to play out its intended limited run. The show is scheduled to close on January 4, 2015.
Latest posts by Jennifer R Jones (see all)
- “Hello, Dolly!” Sales Surge with Bette Midler’s Return - July 19, 2017
- “Dear Evan Hansen” Soars; “Natasha, Pierre” Tumbles - July 12, 2017
- “Cats” and “Miss Saigon” Revivals Sell Sluggishly - July 9, 2017
- Box Office Dips over July 4th Holiday Weekend - July 6, 2017
- Josh Groban Departs “Natasha, Pierre and the Great Comet of 1812” - July 5, 2017