Haru and All My Sons
For an actor, the stage is the great equalizer. Even the most celebrity actors must hone and perfect their craft in order to survive, thrive, and flourish onstage. So, when Katie Holmes announced that she would take the role of Anne in the revival of Arthur Miller’s All My Sons, I feared a repeat of last year – when Claire Danes decided to play Eliza Doolittle in Pygmalion.
The similarities were strong: Two powerful, compelling, thought-provoking plays created by two masterful playwrights – both examining different elements of inter-personal relationships and the beauty with the failings of the human condition. Both plays cast female screen actresses into leading roles (great for ticket sales) – roles that require the thespian to transform into a character in the midst of a life-changing experience.
I remembered my disappointment in Pygmalion. I wanted so deeply to live vicariously through the eyes of Eliza Doolittle for that brief two-hour period. I needed the Rain in Spain to Remain Squarely On The Plain – but alas — Claire Danes didn’t have it. She kept me in New York – noticing her fear of the audience and Claire Dane’s struggle to become — not Eliza Doolittle as Shaw requires – but Audrey Hepburn acting as Eliza Doolittle.
My hopes arose with the rest of the cast – all famous, fantastic, experienced stage and film actors – serious actors like John Lithgow (who has a long history on Broadway), Diane Weist and Patrick Wilson. The press has raved about the play and it’s been sold out for weeks.
I arrived in Manhattan early, only to lose time crawling across 44th street before I could park. My cousin Michele met me in front of Haru, my preferred Times Square sushi restaurant. Arriving just prior to the dinner rush, we secured a table in the center of the restaurant and enjoyed the temporary quiet. Haru is a beautiful restaurant. The center of the space has a sunken floor that they surrounded with birch trees draped in white holiday lights.
Fall has wisped its way into New York so, the green teas we ordered warmed our slightly chilled bones. Michele ordered her usual Agadashi Tofu – a dish that Haru makes particularly well. They wrap silken tofu squares in a homemade tempura batter and deep fry them, then serve them in a soy-sauce broth with shaved scallions.
I tend to be a creature of habit in Japanese restaurants, but last night I wanted to explore a bit and try something new. I ordered a lemongrass sweet and sour seafood soup that absolutely delighted my senses. This delicate balance of spicy, sweet and savory soup highlighted lime and cilantro while supporting them with earthen flavors akin to a miso soup. Within the broth, I dined upon glass noodles, scallops and shrimp. I savored each bite, re-affirming my decision to break away from the norm.
Michele and I shared two appetizers. The first was a lobster and mango cerviche.
Next we shared an exceptional Sea Bass Yankitori.
For my main course, I ordered a small sampling of sashimi.
We lingered over our tea for a while before heading off to the theater. Still a few minutes early, we sat at the outside tables of the Starbucks across the street talking to a tourist from Kansas that was on her way to see The Lion King.
People lined up for half a block to get in to the theater. We sat down in our seats along the isle of the center orchestra and watched the sea of people fill into the suddenly seemingly small theater. Sitting on the isle, we had to get up and down at least six times before our row reached capacity. Then suddenly, the lights went down and the performance began.
Within moments, Diane Weist and John Lithgow took me into the back yard of a 1950s household in Ohio. Every actor in this play added to the experience. I felt Miller’s intended foreshadowing and yet retained the hopefulness that Patrick Wilson’s character brought to the stage, much like a lantern in a dark and windy night.
I felt the fear and desperation of Katie Holmes’ character – her desire for her dead lover’s brother and the mixture of emotions that came from unmasking the charade.
By George, she got it! Katie Holmes was able to bring to her stage performance what Claire Danes could not – transformation, authenticity and the suspension of disbelief.
I must say, both John Lithgow and Diane Wesit were clearly the stars of this show. My gut wrenched for her when she read Larry’s letter. I cried for Joe in his final, noble act. I thought of the failings and humanity of my own mother and father growing up – about the times in my life when I realized they were more than just my parents – they were people – human people.
This revival of Arthur Miller’s All My Sons is perhaps one of the best performances I have ever seen – better than almost every performance – save one: Patrick Stuart in The Tempest (almost 15 years ago).
If you can get to New York and get tickets to see this play – do it! It is incredible.
The similarities were strong: Two powerful, compelling, thought-provoking plays created by two masterful playwrights – both examining different elements of inter-personal relationships and the beauty with the failings of the human condition. Both plays cast female screen actresses into leading roles (great for ticket sales) – roles that require the thespian to transform into a character in the midst of a life-changing experience.
I remembered my disappointment in Pygmalion. I wanted so deeply to live vicariously through the eyes of Eliza Doolittle for that brief two-hour period. I needed the Rain in Spain to Remain Squarely On The Plain – but alas — Claire Danes didn’t have it. She kept me in New York – noticing her fear of the audience and Claire Dane’s struggle to become — not Eliza Doolittle as Shaw requires – but Audrey Hepburn acting as Eliza Doolittle.
My hopes arose with the rest of the cast – all famous, fantastic, experienced stage and film actors – serious actors like John Lithgow (who has a long history on Broadway), Diane Weist and Patrick Wilson. The press has raved about the play and it’s been sold out for weeks.
I arrived in Manhattan early, only to lose time crawling across 44th street before I could park. My cousin Michele met me in front of Haru, my preferred Times Square sushi restaurant. Arriving just prior to the dinner rush, we secured a table in the center of the restaurant and enjoyed the temporary quiet. Haru is a beautiful restaurant. The center of the space has a sunken floor that they surrounded with birch trees draped in white holiday lights.
Fall has wisped its way into New York so, the green teas we ordered warmed our slightly chilled bones. Michele ordered her usual Agadashi Tofu – a dish that Haru makes particularly well. They wrap silken tofu squares in a homemade tempura batter and deep fry them, then serve them in a soy-sauce broth with shaved scallions.
I tend to be a creature of habit in Japanese restaurants, but last night I wanted to explore a bit and try something new. I ordered a lemongrass sweet and sour seafood soup that absolutely delighted my senses. This delicate balance of spicy, sweet and savory soup highlighted lime and cilantro while supporting them with earthen flavors akin to a miso soup. Within the broth, I dined upon glass noodles, scallops and shrimp. I savored each bite, re-affirming my decision to break away from the norm.
Michele and I shared two appetizers. The first was a lobster and mango cerviche.
Next we shared an exceptional Sea Bass Yankitori.
For my main course, I ordered a small sampling of sashimi.
We lingered over our tea for a while before heading off to the theater. Still a few minutes early, we sat at the outside tables of the Starbucks across the street talking to a tourist from Kansas that was on her way to see The Lion King.
People lined up for half a block to get in to the theater. We sat down in our seats along the isle of the center orchestra and watched the sea of people fill into the suddenly seemingly small theater. Sitting on the isle, we had to get up and down at least six times before our row reached capacity. Then suddenly, the lights went down and the performance began.
Within moments, Diane Weist and John Lithgow took me into the back yard of a 1950s household in Ohio. Every actor in this play added to the experience. I felt Miller’s intended foreshadowing and yet retained the hopefulness that Patrick Wilson’s character brought to the stage, much like a lantern in a dark and windy night.
I felt the fear and desperation of Katie Holmes’ character – her desire for her dead lover’s brother and the mixture of emotions that came from unmasking the charade.
By George, she got it! Katie Holmes was able to bring to her stage performance what Claire Danes could not – transformation, authenticity and the suspension of disbelief.
I must say, both John Lithgow and Diane Wesit were clearly the stars of this show. My gut wrenched for her when she read Larry’s letter. I cried for Joe in his final, noble act. I thought of the failings and humanity of my own mother and father growing up – about the times in my life when I realized they were more than just my parents – they were people – human people.
This revival of Arthur Miller’s All My Sons is perhaps one of the best performances I have ever seen – better than almost every performance – save one: Patrick Stuart in The Tempest (almost 15 years ago).
If you can get to New York and get tickets to see this play – do it! It is incredible.
One of my good friends from home is seeing Katie in this play next weekend. I'll have to tell her how wonderful it was
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