Merman to Ebersole...

Grey Gardens opened on Broadway last night to okay reviews. That’s about the extent of their separate opinions; just okay. Clive Barnes in the NY Post thought the music stunk. Ben Brantley of the Times said the first act pretty much stinks. Joe Dziemianowicz of the News thought the music was “glorious” (take THAT Clive Barnes) but had some caveats about the construction of the prologue (“doesn’t really succeed”).

What they all (and other critics) seem to agree upon is that Christine Ebersole is wonderful. I disagree. I think she is okay but that’s about the extent of my admiration. What exasperates me, personally, is that Ebersole (an excellent actress) has fallen into the trap of being a “diva” and letting it show in her performance. She steps out of character with personal mannerisms and cutesy shtick to get cheap laughs and to draw in the audience to the charms of Christine Ebersole, but not the character she is portraying. I think it’s a missed opportunity, even though the majority of the audience buys into it. Audiences love to be taken into an actor’s confidence. I suppose it makes them feel like part of the show or something. I attended the off-Broadway version of Grey Gardens several months ago with three friends, one of whom leaped to his feet in ecstasy at the curtain calls. I missed something he got, I guess, but that’s nothing new. We’ve all experienced the weirdness of going to something with somebody who loved/hated something that you hated/loved.

Anyway, it has been ever thus with me and divas, starting with Ethel Merman in the original cast of Gypsy. Even way back then her out-of-character showboating went against my personal grain and I was a mere child. No I’m not giving a date; do your own friggin’ research. Admittedly, Merman came from a different era of musical theater performance (and can, therefore, be forgiven her personal trespass) but, thankfully, she was supposedly the last of her breed. However, for some reason, this sort outlandish diva behavior is still acceptable in this day an age of character-driven acting even though it is not tolerated on any other level or gender besides the leading-lady role (Nathan Lane excepted perhaps). Against all odds Ben Brantley of The Times (usually exceptionally astute about theatrical values) swoons for it, including in his Grey Gardens review. What’s up with that?

It’s kind of a joke in my general posse of friends that I’m the only one they know who has seen all four Broadway productions of Gypsy. Merman, Angela Landsbury, Tyne Daly and Bernadette Peters. All but Merman embodied Mama Rose beautifully, putting their own imprint on the role but still staying true to the character. They all won Tony’s. Merman didn’t win a Tony because she was playing Merman. What kind of acting is that?

I think probably Elaine Stritch, in the original cast of Company (yes, also several decades ago), brought home my own personal bias. Company was, and is, the ultimate “ensemble” musical. To me she stood out like a sore thumb as one big selfish Lady Who Lunched. My friends were blown away but I kept quiet; not being quite the outspoken country boy I am today.

Just recently, in the highly acclaimed revival of Sweeney Todd, I thought Patti Lapone messed up this wonderful piece of theater, with her self-serving cutesiness. She seems to have forgotten what she learned at Julliard which is to stay in character, silly, it’s way better that way for both you and the role. She probably thought she had a Tony sewed up. Sorry, chump, it’s the role that has a Tony possibility, not you, and you didn’t rise to the occasion.

Anyway, although the role of “Little Edie” has a possible Tony on its resume, Ms. Ebersole should try to avoid the diva route…but I guess it’s too late for that.