Review - Other Desert Cities and Hugh Jackman: Back on Broadway

My boss had an extra ticket for Wednesday’s matinee of Other Desert Cities, the new play by Jon Robin Baitz.  Other Desert Cities had a run at Lincoln Center earlier this year, but I didn’t get to see it.  I’ve heard such good things about the production, I was very fortunate that he asked me to go with him.

I enjoyed myself very much, but maybe my expectations were too high, because I didn’t ultimately think the play was more than very good.  It was a little too glib, a little too smoothly constructed, for me to find it a thrilling theatrical experience.  But probably that’s just me.  The acting ensemble is amazing, though, and the show is beautifully directed and designed.

The play takes place at Christmas in Palm Springs in 2004.  It’s a family reunion of sorts, since the daughter (played by Rachel Griffiths) hasn’t been home for six years.  Her parents, Stockard Channing and Stacy Keach, are worried about her, but sometimes use prickly behavior to express their worry; her younger brother, Thomas Sadoski, is the designated peacemaker; and Judith Light is the formerly-drunk sister of Stockard Channing, staying with the family as she dries out.

Griffiths’ character has come home because she has written a tell-all book about her family, and she thinks she wants to get their blessing before it’s published.  Things start to unravel from there.  There are so many secrets in this family, it got a little crazy by the end.  And, though I didn’t guess the final revelation before it came, I was a little put off by it.  It seemed to want to take everyone off the hook and forgive everyone without their really earning it.  So I was disappointed by that piece of the writing.

Everything character-wise, though, was completely believable:  the family dynamics, the shifting loyalties, the pain and fear.  Every character (and every actor) had many moments to really shine.  I did, however, find a lot of the dialogue to be a little to ‘banter’y’ for my tastes, though I do acknowledge that these characters perform for themselves and for each other, so perhaps banter is the only way they can communicate. 

Stockard Channing is sublime.  There are so many layers to this lady, it would take forever to describe them all.  The mask she hides behind, both physically and emotionally, takes an actor at the top of her game to make it real.  I’ve been a longtime fan of Stacy Keach and he did not disappoint.  I found his journey to be the most moving, actually.  Maybe because he  reminded me of my darling dad.  Thomas Sadoski was terrific—his last two monologues are really beautifully done, and pack a wallop.  Judith Light is also fantastic.  Brittle and angry, yet you see the love under the surface.  This is a performance completely vanity-free.  I was less sold on Rachel Griffiths.  Perhaps she was saving herself since it was a two-show day, but she seemed a little one-note and monotonous to me.  Not in a “I’ve been depressed for years” monotony, but an actor monotony.  To me.

I definitely recommend seeing this play, especially for the amazing performances, but, for me, it was a little too safe to be an amazing play.  A well-crafted, well-made play, but not a transcendent experience.  Darn.

BUT, now that I’ve mentioned transcendent experiences, Jesus H Christ, Hugh Jackman is Just. Not. Right.  He is beyond handsome.  He seems beyond kind and generous.  He sings, he dances, he makes jokes, he can improv with the audience.  His charm is off the charts.  Part of my brain wants to think, really?  Can he really be all that?  The answer is always yes, yes, he IS all that.  And a bag of chips.

Intellectually, I know that his singing voice is imperfect, but I don’t care.  I find his sound to be comforting and pleasing; it sits nicely in my ear and heart.  He’s a marvelous interpreter of song—he acts them beautifully.  The first act closes with “Soliloquy” from Carousel and it is gorgeous.  It’s a three-act play in one song.  He closed the show with “Once Before I Go” from Boy From Oz and I sobbed.  Seriously. 

He’s a wonderful dancer, so graceful and comfortable with himself.  There is a delightful homage to the MGM musicals, where he sings and tap dances with a group of chorus gals.  It’s enchanting.  The Peter Allen medley is terrific, his New York medley was also great.  Honestly.  No complaints on anything here.  I loved the version of “Over the Rainbow” that he did, along with the Indigenous performers that joined him onstage.  There can never be enough didgeridoos on stage!!!  J

I think what I enjoyed the most was the joy and happiness he just radiates and shares with the audience.  I had a smile on my face the entire evening, right on through the Broadway Cares spiel at the end, where he auctioned off his sweaty t-shirts, and promised to meet and take photos with anyone who would donate a certain amount of money.  You all know I’m just a sucker for charm and charisma, and this guy has it by the bucketful.

Some pre-show notes: the lines to get into the theater were massive.  Crazy.  But, I did laugh every time a limo pulled up and an 80-ish year old man would get out of the limo with his 20-something blonde girlfriend.  This happened at least four times.  And a certain Broadway producer cut in front of me in the line.  Yes, I know who you are.  And I have a loooooooong memory.  lol

Clearly, I had a rocking time at the show, loved it from start to finish, and if you can scare up a ticket, I highly recommend you do so.  It’s like a big, warm hug.   And who doesn't love a big warm hug from Hugh Jackman?!