Woman Around Town’s Editor Charlene Giannetti and writers for the website talk with the women and men making news in New York, Washington, D.C., and other cities around the world. Thanks to Ian Herman for his wonderful piano introduction.
Steve Martin’s plays – Picasso at the Lapin Agile and, with Edie Brickell, the musical Bright Star – don’t deep dive into character or message. (Bright Star appeared to try.) His work will never be compared to Neil Simon who has natural facility for making comedy and pathos go hand in hand. Martin’s original screenplays fare better on this front- remember Roxanne?
Meteor Shower is a diverting piece about the vulnerability of marriage. The clever, timely, gimlet-eyed satire evokes broad smiles and moderate laughs. Its author embraces ba-dump-dump vaudeville humor as much as social comment. Being analytical, he underpins the plot with a psychological device of which we’re mercifully unaware till nearly the end.
It’s August 1993 in Ojai, California. The Perseid Meteor Shower is about to blaze across the sky like cannon fire. Corky (Amy Schumer, audience applause) in a perky Debbie Reynolds ponytail and her sweet husband Norm (Jeremy Shamos) are preparing to entertain sexpot Laura (Laura Benanti) and grandstanding husband Gerald (Keegan-Michael Key- audience applause) for the first time. Only Norm has briefly met the pair.
When amiable chat veers to conceivably hurt feelings, Corky and Norm break action to hold hands, look into each other’s eyes and intone psychobabble learned in therapy. “I really appreciate your attitude on this…I respect what you’re saying…” Everything is upfront with these two. The methodology works for them.
Laura and Gerald, on the other hand, are not what they seem. We glean early on that the couple’s recreation is upending their hosts’ marriage – sexually and sentimentally, apparently for sheer entertainment. They withhold basic information, insult with incisive abandon, and set out to seduce Corky and Norm.
Like many plays in current vogue, this one juggles chronology. Scenes are played out of order, so we often observe what happened and then what preceded. An alternative ending may or may not be true. Parts seem more important than the whole.
Honesty is as virulent as falsehood. Martin works in cannibalism, kleptomania, hard drug use, ignominious near-death, very funny seduction, vulgarity, and a couple of memorable, loosey goosey solo dances. Don’t even ask me about the eggplants. (I don’t have a clue.) You’ll have a good time but may be hungry again after an hour.
Amy Schumer plays a character with which she’s highly familiar, breaking out of the generic, through no fault of her own, only in the second part. Her timing is impeccable.
Laura Benanti effectively showcases both more unabashed allure and wacky physicality that we’ve seen from the actress.
Keegan-Michael Key aptly sucks the air out of the room with over the top cockiness that will keep your brows in constant parachute position. His determined focus just barely keeps Gerald from becoming a sitcom character, but he’s funny.
Jeremy Shamos is darling. The actor inhabits everyman innocence as skillfully as he navigates deadpan, heat-seeking-missile attack. At one point he breaks up another cast member with audacious silliness. A pleasure to watch.
Director Jerry Zaks creates infectious fun with this one. Recent commissions haven’t offered nearly this kind of opportunity for off the wall visuals and spot-on timing. Bravo.
Natasha Katz’s Lighting Design conjures marvelous meteors and explosions.
Costumes by Ann Roth are wonderfully specific to character.
Beowulf Boritt’s modrin Set Design moves fluidly between living room and patio.
Photo by Matthew Murphy
Keegan-Michael Key, Jeremy Stamos, Amy Schumer, Laura Benanti
Meteor Showerby Steve Martin
Directed by Jerry Zaks
Booth Theatre
222 West 45th Street Through January 21, 2018
International Women’s Day is March 8th. In the spirit of the occasion, it seems appropriate to consider watching a movie with a woman director. Sadly, at present, this is a limited field, nevertheless we have found five worthy contenders and hope to see far, FAR more in the future.
The Piano (1993) Written and directed by New Zealand’s own Jane Campion, this romantic drama starring Holly Hunter as a mute piano player and widowed mother who becomes entangled in a convoluted love triangle with Sam Neill and Harvey Keitel. It made over $140 million worldwide on a seven million dollar budget, was nominated for eight Academy Awards and won three; Best Actress for Holly Hunter, Best Supporting Actress for Anna Paquin, and Best Original Screenplay for Campion. Campion also became the first and thus far only woman to win the Palme d’Or at Cannes. She would later go on to direct the award winning romantic drama Bright Star, as well as write and direct the TV mystery/drama series Top Of the Lake starring Elisabeth Moss in a role that’s won her a Golden Globe and Critics Choice Award.
Monsoon Wedding (2001) Directed by Indian born Mira Nair this romantic comedy details various entanglements and dramas taking place during a traditional Punjabi Hindu wedding in Delhi. Along the way we are treated to song and dance numbers as well as a number of observations about life in Modern 21st Century India and Punjabi culture. The movie was nominated for a BAFTA and a Golden Globe. It won the Golden Lion at the Venice Film Festival making Nair only the second Indian to win in that category. Nair would go on to direct such films as The Namesake (nominated for a Gotham Award and Independent Spirit Award), The Reluctant Fundamentalist (for which Nair won The Bridge, The German Film Award for Peace), and Queen of Katwe (nominated for four NAACP Image Awards and Winner of Best Family Film by Women Film Critics Circle.)
Lost In Translation (2003) Written and directed by Sofia Coppola (daughter of the legendary Francis Ford Coppola), this bittersweet comedy starring Bill Murray (in a role that many considered to be his best work to date and which launched a career renaissance for him) as a washed up movie star who connects with young, unhappy, newlywed Charlotte (Scarlett Johansson in her breakout role). The movie was a huge breakout success earning over a $100 million on a four million dollar budget. Johannson and Murray each received BAFTA Awards. The film garnered four Oscar nominations including Best Picture, Best Actor, and Best Director. Coppola actually won an Oscar for Best Screenplay. Sofia would later become the first American woman to win the Golden Lion the top prize at the Venice International Film Festival for 2010’s Somewhere which she also wrote and directed.
The Hurt Locker (2009) Directed by Kathryn Bigelow (Point Break, Strange Days). This war thriller about an Iraqi bomb squad starring Jeremy Renner, Anthony Mackie, and Brian Geraghty is one of the most suspenseful and grittiest war movies ever made with an incredible emphasis on the psychological toll of combat. It’s so intense and realistic you can almost taste sand in your mouth during one particular sequence. It was universally acclaimed by critics and went on to win six Academy Awards including Best Picture. Bigelow won the award for Best Director and as of this date The Hurt Locker remains the first movie directed by a woman to win either Best Director or Best Picture. Bigelow would go on to direct Zero Dark Thirty which would be nominated for five Oscar awards including Best Picture.
Selma (2014) Directed by Ava DuVernay. While DuVernay was the first African American woman to win the Sundance Film Festival Award for Best Director for her feature film Middle of Nowhere, it was this historical drama starring David Oyelowo as Martin Luther King, Jr. based on the real life voting marches from Selma to Montgomery,that helped her truly rise to prominence. With Selma, DuVernay became the first African American woman to be nominated for the Golden Globe for Best Director as well as the black female director to have her film nominated by the Academy for Best Picture. In 2017, she was nominated for the Academy Award for Best Documentary Feature for her film 13th examining race and mass incarceration in the U.S. She’s currently working on directing on an adaption of A Wrinkle in Time for Disney with a budget exceeding $100 million making DuVernay the first black woman to direct a live action film with a budget of such size.
