Larry Sultan’s groundbreaking photo-memoir, from 1992, is recast for Broadway.
Nathan Lane and Danny Burstein are Broadway veterans and consummate showmen, greeted as beloved tummlers whenever they appear onstage. Purveyors of the same wry bonhomie, these two throwbacks to the vaudevillian era could almost be brothers—Lane is sixty-seven to Burstein’s fifty-eight— but in “Pictures from Home,” at Studio 54, they play father and son. What to do? The production has decided to fake an age gap with hair styling: a white swoosh for Lane and a glossy dark emo-coif for Burstein. Whenever my mind wandered, I watched the lights play on these oddly reflective hairpieces. The shine—Burstein’s head occasionally turns a kind of bronzy purple—isn’t only a question of wigs. It also illuminates the deeper trouble with the playwright Sharr White’s stage adaptation of the photographer Larry Sultan’s book, an endeavor that, in its follicles, is a case of tonal mismatch.
この記事は The New Yorker の February 27, 2023 版に掲載されています。
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この記事は The New Yorker の February 27, 2023 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
すでに購読者です? サインイン
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