|
CurtainUp The Internet Theater Magazine of Reviews, Features,
Annotated Listings |
A CurtainUp Streaming Feature
Little Gem— a virtual production that lives up to its title
By Elyse Sommer
Oh, what a difference more than the two years since Simon's review of that live production and my seeing the actors reprising their performances in their New York, London and Connecticut homes can make. What Simon Saltzman had to deal with when he left his New Jersey home to see a press performance of Murphy's triple monologue play at the Rep's Chelsea venue was un omfortsbly hot westher. My dance card was too full to see Little Gem when Simon did, so the Rep's bringing it back as newly filmed for the screen is a welcome opportunity to catch up with it to see whether the screened version lived up to his praises. I didn't have to leave my living room couch or even put on shoes to find out. Though I missed bumping into fellow thester critics in the lobby and saying "hi" to the Rep's co-founder Charlotte Moore in her usual post at the ticket booth, I'm happy to report that Little Gem does indeed live up to Simon's and other crtics' praises. Wnat I saw was the same play and cast Simon saw, but my experience was just as rich — possibly even better. You see, the Rep's skillful handling of the designed-for-onscreen viewing format works especially well for this monologue storytelling. While Amber, Lorraine and Kay are never actually together on the virtual stage, the expansion of the wating room setting of the live production to the actors' homes allows the characters to move around and reposition themselves for their solo turns. Despite the theater's being small enough for audiences to appreciate the performances, the close-ups possible in this format brings out the delicacy of what an actor's character is feeling as even a front-row seat could not. The review of the 2019 production ably covers the details of the narrative and the way the actors embody their characters. Since it confirms my own take, I'll continue by re-posting it below. Before I do, just two personal comments. First, the screened version had me so close to the actors' faces that I had no trouble fathoming every bit of the Irish lingo; second, Kay's final scenes were especially heartwrenching for me. Yet, the sadness I shared with her also brought joy and gratitude that I had a healthy beloved husband with me for many more years than Kay. Simon Saltzman's Review
|