I wrote this awesome review of A Steady Rain, and it rocked, and then LJ ate it. So I’m going to postpone its reconstruction and instead tell you what I’ve done this week:
Sunday: Welcomed MamaMKP, made it through my choir concert, had good UWS Chinese food.
Monday: Stayed in bed while MamaMKP ran errands and cooked me stew.
Tuesday: Went to work, then met up with MamaMKP for lunch and dinner. Had dinner at "Butter," where that lady from Chopped is the Executive Chef. I had a wild boar dish and a porkbelly dish both of which I spent all too little a time with and miss, even now. MamaMKP got me all three seasons of 30Rock that we watched a ton of when we got home.
Wednesday: I’m of two minds about A Steady Rain:
First there’s ZOMG Daniel Craig and Hugh Jackman were in front of me and together on the same stage and one time Hugh Jackman gave Daniel Craig a noogie and I think we all thought they were gonna makeout but they didn’t and then they sat and talked and how long are Jackman’s LEGS?! and dude, what is that moustache on Craig’s FACE?! and I christened one Mr. Burly and one Mr. Buffness and sort of drooled and afterwards they stripped down to their undershirts to auction them off to two stupid OLD guys who totally won’t appreciate it like I would, and we got to hear their real accents and I died and BEST NIGHT EVER.
Then there’s reason. Jackman and Craig play two Chicago cops with some subjective morality issues, a closeknit bond that dates from childhood, and a run of bad luck that suggest they should stay the heck away from Vegas. The narrative is chopped into a circular series of flashbacks and recaps; the characters speak as themselves, as eachother, as the other supporting voices that come in and out of their story. For such a dark story, the play begins immediately with a rush of humor, self-deprecating and teasing, and there’s a surprising amount of humor throughout though by the end it’s mostly whistling in the dark.
The set is most immediately an interrogation room – black and blank, two chairs under swinging single-bulb lamps, the two men seated there providing all the color at the outset. As the story progresses, subtly three dimensional backdrops slide silently out from behind the black background – an alleyway, a street in front of an apartment building, a forest, an underpass. The pieces are so successful I couldn’t figure out exactly what their depth was – they could have been flat with sharp perspective or in relief.
To explain the story much further is to give away the twists and developments that sway and influence your perspective as the play moves forward – suffice it to say Joey (Craig) and Denny’s (Jackman) stories don’t always line up, and though first it seems obvious which one is playing good cop and which one is in the wrong, it’s less clear at the play’s final lines.
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(more to come!)