Film, literary, TV and/or theatre critics such as yours truly have long been the butt of jokes aimed at us and our profession. These haven't necessarily been undeserved, but I've never seen a serious depiction of a truly unethical, possibly evil critic until I watched Anand Tucker's new film The Critic. Now in theatrical release in the US, it demands attention for multiple reasons but especially for 85-year-old Ian McKellen's delectable performance in the title role.
The out and proud McKellen plays Jimmy Erskine, whose increasingly caustic opinions have held sway over the London stage — and those artists inhabiting it — for more than 40 years. When we meet Erskine in 1934, he is revered and feared in equal measure. A negative review from him can close a show and destroy careers. Erskine clearly enjoys his power and the perks that come with it. These perks include a degree of needed social-legal protection, since he is a closeted gay man during a time when homosexuality was criminalized.
When the longtime owner of the newspaper to which Erskine has long contributed suddenly dies, the critic soon finds himself at odds with new owner David Brooke (played with nice subtlety by Mark Strong). Brooke disdains Erskine's influence, attitude and sexuality, and tells his chief critic to be "more beauty, less beast" when it comes to his writing. Erskine, feeling his job and status threatened, concocts a plan involving an ambitious actress to bring Brooke down. Things quickly get out of hand, with more than one life lost along the way.
The Critic, adapted by Oscar nominee Patrick Marber (Closer, Notes on a Scandal) from Anthony Quinn's novel Curtain Call, is well worth seeing for McKellen's darker-than-usual turn alone. However, additional strong performances are given by Alfred Enoch (well-remembered from TV's How to Get Away with Murder) as Erskine's longtime assistant/"lodger," Gemma Arterton (Prince of Persia, The King's Man) as the unfortunate actress manipulated by Erskine, and Oscar nominee Lesley Manville (Phantom Thread) as the actress' mother. The film also boasts lovely period art direction, costumes and cinematography.
At the film's opening, Erskine correctly informs viewers that the word critic is derived from the Greek and Latin words for "judge." Elsewhere he declares, "Theatre is eternal and matters more than politics." With this in mind, this consistently-published critic of 28 years — who has long striven to be ethical and is definitely not evil (depending on who you talk to, lol)—turns to judging two of the hottest, politically-related tickets currently on Broadway!
Oh, Mary! is a much-ballyhooed transfer from Off-Broadway that was both written by and stars queer performer Cole Escola. Escola has been recognizable in LGBTQ circles for a while now, thanks to their appearances on TV's Search Party, Mozart in the Jungle, Difficult People and numerous YouTube sketches. But the success of Oh, Mary! — which has just been extended at NYC's Lyceum Theatre through January 19th, 2025 — has elevated Escola to a whole new level. Reverend was thrilled to attend a performance last month.
Their outrageous gay-leaning farce presents a knowingly, lovingly contrary image of the historical Mary Todd Lincoln. Despite serving as First Lady to then-President Abraham Lincoln, she was — according to Escola alone — a frustrated, unhappily married, alcoholic, wannabe cabaret star. Escola plays all this to the hilt, and then some. Their Mary hides liquor bottles throughout the Oval Office, verbally and emotionally abuses her servant-chaperone, and challenges her barely closeted gay husband (reincarnated by out actor Conrad Ricamora) at every turn. She also happens to be completely clueless about the civil war ravaging the USA during her husband's administration. Mary eventually falls for the hunky theatre coach (James Scully) "Honest Abe" hires for her, though her husband's ulterior motives become decidedly apparent.
Everyone's destiny collides at Washington DC's infamous Ford Theater the fateful evening of April 15th, 1865. Yet Escola's one act play climaxes with Mary's ultimate cabaret performance that absolutely brings down the house. It's no wonder Oh, Mary! won numerous Off-Broadway awards last season including several from GALECA: The Society of LGBTQ Entertainment Critics, of which Reverend is a member. Watch for it to potentially dominate this season's Tony Awards following its transfer to Broadway. Escola and their radical revisionist-history comedy are fully deserving of all the accolades they are receiving.
Once Upon a Mattress is back on Broadway in a delightful revival starring two-time Tony Award winner Sutton Foster. The original 1959 production of this comedic adaptation of The Princess and the Pea famously made a star of Carol Burnett. Additional tours, revivals and TV versions have been headlined by the likes of Dody Goodman, Imogene Coca, Sarah Jessica Parker and Tracey Ullman, not to mention thousands of high school ingenues.
If Foster wasn't already a star of stage and screen, this current production would surely make her one. Her singing and dancing as the hapless Princess Winnifred are as impressive as ever; it's her Lucille Ball-rivaling comedic skills on display here that are a guffaw-inducing revelation. They begin at Foster's entrance. Covered in filth, garlands of moss and even leeches (which she ends up hurling into the audience), she immediately establishes herself as the dirtiest, rowdiest Winnifred to date. Foster's hilarious antics continue through the finale and include stuffing her mouth with grapes, exuberantly dancing the punishing "Spanish Panic," and contorting herself repeatedly on the musical's titular pile of bedding. Her performance could assure her another Tony Award next year, although Audra McDonald's upcoming turn as Mama Rose in Gypsy will likely offer stiff competition.
Shamelessly aiding and abetting these shenanigans are out co-star Michael Urie (known for TV's Ugly Betty and Younger as well as his numerous, award-winning stage credits) as Prince Dauntless, Winnifred's royal intended; Saturday Night Live and Wicked veteran Ana Gasteyer as the conniving Queen Aggravain; and previous Tony Award nominees Brooks Ashmanskas, Daniel Breaker and Will Chase. Lear Debessonet (who was just appointed the new director of Lincoln Center Theatre) directs with winning playfulness, and Lorin Latarro provided the energetic choreography.
Also adding to the frivolity are Foster's longtime collaborator Amy Sherman-Palladino, who smartly updated the musical's rather creaky book. Untouched, however, is the classic score composed by the late Mary Rodgers (Richard's daughter) and Marshall Barer. This Once Upon a Mattress can be enjoyed by all ages, as the giggles of numerous young children seated near me testified. Get thee to NYC's Hudson Theatre asap!
As Reverend recently said to my hospice chaplain day job supervisor: If you would have told me when I was a teenager or young adult in Arizona that I would one day be living adjacent to New York City and regularly attending/reviewing Broadway shows, I would have said "That will never happen." This critic stands humbly, gratefully corrected.
Reverend's Ratings:
The Critic (Film): A-
Oh, Mary! (Broadway): A
Once Upon a Mattress (Broadway): A-
Reviews by Rev. Chris Carpenter, resident film and stage critic of Movie Dearest and Rage Monthly Magazine.
