Jim Stanek, Greg Mullavey, and Marlo Thomas; photo by T. Charles Erickson
"A first rate cast...Genuinely funny. Marlo Thomas effortlessly handles the script's dry humor...it's poignant ending is particularly affecting" -The New York Times
“…be prepared for some extraordinarily good theater…” – Asbury Park Press
“…audiences should not miss an opportunity to see this jewel of a performance!”-broadwayworld.com
“[DiPietro] crafts a neat stage quartet, which is brilliantly led by Marlo Thomas…”
- The Star Ledger
"Once again, David Saint does what he has done going on two decades -- finding great new works, casting the best actors one could imagine and directing with amazing skill. No wonder George Street has become a breeding ground for successful Broadway productions." - NJ Hills
“Don’t miss it!” - Out in Jersey
“…playwright Joe DiPietro avoids easy answers and provides entertainment as well as food for thought.”
- The Star-Ledger
“An outrageously funny comedy, "Clever Little Lies" offers more than just laughs.”
“A hit! Clever Little Lies is a beautifully written and performed story of secrets and confessions of love, marriage and fidelity.” -Examiner.com
“Marlo Thomas headlines the four-person cast, shouldering the heft of the play with graceful strength and a biting sense of humor. “ - theatermania.com
“Marlo Thomas gives a sparkling performance.” - njartsmaven.com
“…clever, insightful comedy…” – alternativepress.com
“Marlo Thomas delights in world premiere Clever Little Lies.” – talkinbroadway.com
“With this play, George Street has produced yet another winner in what is sure to be a banner 40th-anniversary year.” – The Princeton Packet
Wednesday, December 4, 2013
Wednesday, October 16, 2013
Wednesday, May 15, 2013
The playwright’s serio-comic depiction of an increasingly heated encounter between a theater director and an unknown actress in a rehearsal hall delves into aspects of power, both sexual and psychological, even as it touches on issues of personal identity, literary theory, feminism and mythology.
Don’t let all that scare you. “Venus in Fur” is a provocatively funny play that begins on a light note, as Thomas, an earnest writer-director, prepares to leave the shabby studio where he has been auditioning actresses for his stage adaptation of “Venus in Fur,” without success. Arriving unexpectedly out of a thunderstorm is Vanda, a brash nobody who claims she has an appointment to read for the leading role.
Although the cheerfully crass Vanda appears wildly unsuited for the part of a 19th-century aristocrat, she persuades a reluctant Thomas to hear her out. Script in hand, Vanda instantly sheds her brassy manners and magically assumes the cultivated tones and regal bearing of all the Barrymores rolled into one.
As the actress and the director talk about the text and begin to act it out, the audience learns the essentials of “Venus in Fur,” Leopold von Sacher-Masoch’s scandalous 1870 novel about a European patrician who willingly becomes the slave of an imperious beauty.
Mark Alhadeff, who portrays Thomas, was an understudy in the role in the Broadway production, and he ably traces his character’s double spiral into delicious subjugation. The statuesque Ms. Putney, often clad in little more than a black bustier, a brief leather skirt and steep heels as Vanda, displays a smoldering rapport with Mr. Alhadeff’s shorter, rather scruffy Thomas.
photo by T. Charles Erickson
Friday, March 8, 2013
It’s a romantic comedy about money and the effect it has on relationships. We’re at this point in American history where everyone is looking at what they have and what they don’t have, so I was interested in looking at this one person whose life revolves around money. Eve, the mother character, is a financial guru and she has this job where she thinks and talks about money all the time. I wanted to know how that would affect her personal life.
So I was working on this Peter Sellars opera in Europe, when out of nowhere, in one week, I got my first idea for a play and my grandfather died, leaving me a little bit of money, just enough to change my life. Suddenly, I could afford grad school. So I made this really funky switch, where I decided, “Okay, I’m going to go to grad school for playwriting.” I wrote the play that I had had the idea for, applied to grad school with that one play, and got into Iowa. And became a playwright!
Interview courtesy of the Playwrights' Center, which supported the development of Rich Girl.