Sunday, John Grisham, who’s sold 1.5 billion books, debuts on Broadway. Rupert Holmes, who adapted “A Time To Kill,” sat with me at rehearsal.
Actors holding scripts were perfecting speedier courtroom dialogue. Under a baseball cap, the familiar “judge” — part-time senator, part-time actor, one-time Watergate counsel — Fred Thompson. Whispered Rupert, “He looks different. Shaved his head.”
The high-pace story? The KKK. 2 ¹/₂ relentless hours. At maximum energy, it unfolds within minutes. Depth in the roles, vivid characters, an ensemble piece, no famous Hollywood fancypants, no heroes, 15 actors. The small John Golden stage never held so many. Short courtroom drama core scenes intersperse with 10 others, one event per each, which lead to the action.
Rupert: “A revolving turntable transforms into sets, an office, back room. A big part of rehearsals is the transition. Lights dim, and in shadow actors put the scenes together, move the furniture. They’re busy. Lots of energy. Choreography was difficult. At auditions we asked, ‘Can you do this or are you a klutz?’ ”
Toward the end of Act 2: “A real KKK burning cross. Height of the stage. Real fire. It’s horrifying. Awesome. The audience is in shock. There’s absolute safety. With the Fire Department’s approval, it gets lit onstage and burns down a house. Two propane tanks per show. Our big challenge was could we actually present a burning cross. It’s a technical feat.”
In the dark quiet empty theater, the director hissed at us to shut up.
Producer Daryl Roth acquired the novel’s rights. The first such Grisham ever allowed. Having had script approval, he and his wife will come from home in Virginia to attend the opening.
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‘Shrek’ team reunites
“Shrek The Musical” is now a Blu-Ray/DVD release. Said Daniel Breaker, who played The Donkey: “Hi, I’m your ass.” Then: “Took 25 minutes in makeup and 15 more to stick on my hooves. I kept some ears.” Having since done “Shakespeare in the Park,” Danny Donkey added: “I viewed my character as an individual who wanted a friend.”
Christopher Sieber, who played Lord Farquaad on his knees: “My back, hips and ankles got hurt. In traction part time, I used baseball catchers’ kneepads and had physical therapy three times a week. But I kept my Swarovsky jewelled cape.”
Pinocchio. John Tartaglia. “My nose was connected with a spring. A motor on my back and a hand trigger moved it. It once fell off. I’d worked a puppet when I was in ‘Avenue Q’ so I knew what to do. I decided he was carved from Tennessee wood so I made my Pinocchio speak with this ridiculous Southern drawl.”
Sutton Foster a k a Fiona: “Over 400 performances, eight shows a week. It’s intensive. Protect your voice. Don’t get a cold. Do get sleep. Don’t overtalk at a party. I wish I were superhuman.” She’s doing OK. “Got a new guy. A good one. Not an actor.” (The last temp was.) We had prosthetics so I kept a green nose.”
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Mistress den
In Jeff Slonim’s Inquisitive Guest piece in superelegant, highly refined Architectural Digest, this Dita Von Teese burp about Paris’ famous old Laperouse restaurant: “Men used to bring mistresses there. You can still book private salons, where the waiters will only enter if you press a button.” Striptease Teese calls it one of her favorite places.
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Years gone by
50 YEARS. 1963. Going to a new hip joint. 2013. Getting a new hip joint. 1963. Rolling Stones. 2013. Kidney stones. 1963. Long hair. 2013. Longing for hair. 1963. Acid rock. 2013. Acid reflux.
And today’s college entrants were born in 1994.
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East Seventh, Second & Third, uptown side, David Schwimmer’s brownstone. Flapping tarp over the façade, a year renovating, removed elderly and struggling artist tenants (report those elderly and struggling artists). Now bitterly called “Schwimmer’s List,” they say it’s “a hideous mcmansion, whose brick facing makes it look like an outsize oatmeal cookie.” Oy. C’mon, people, play nice.
Only in New York, kids, only in New York.