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aurore
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wow thanks for the pics 
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mvitto .
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Aleki77 .
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Omg! Che splendido video! Mi sembra di essere nuovamente a teatro! . -
aurore .
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OMG OMG OMG !!! she's amazing
Abigail and Allison looks great too !!!. -
Aleki77 .
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CITAZIONEmiracleworkerny
@JMOLOVEForum Hey love, the show is supposed to start at 6.30 p.m tonight.
http://twitter.com/miracleworkerny/status/9943576466CITAZIONEDid you know that in 1887 Anne Sullivan arrived at the Alabama home of Capt. and Mrs. Arthur H. Keller to become the teacher of their blind and deaf 6-year-old daughter, Helen. Happy Opening. That was on this day, March 3, 1887.
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Aleki77 .
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THE MIRACLE WORKER: Highlights
Caps HHQs
credits: Aleki77. -
briteen .
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Aleki, Variety wrote a positive review of The Miracle Worker
www.variety.com/review/VE1117942344.html?categoryid=33&cs=1
Love this part:
Director Whoriskey ("Ruined") fosters a strong connection to the three characters at the play's center. The allegiances and conflicts among Helen, Annie and Kate (played with touching delicacy and warmth by Morrison) are conveyed with real heart. Yesssss!
The Miracle Worker
(Circle in the Square;772 seats; $117 top)
By DAVID ROONEY
'The Miracle Worker'
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A David Richenthal, Eric Falkenstein, Randall L. Wreghitt, Barbara & Buddy Freitag/Dan Frishwasser, Joe & Kathy Grano, Mallory Factor, Cheryl Lachowicz, Martha Falkenberg, Bruce J. Carusi & Susan Altamore Carusi, David & Sheila Lehrer, Lynn Shaw presentation, in association with Connie Bartlow Kristan, Jamie deRoy/Remmel T. Dickinson, of a play in two acts by William Gibson. Directed by Kate Whoriskey.
Helen Keller - Abigail Breslin
Annie Sullivan - Alison Pill
Kate Keller - Jennifer Morrison
Aunt Ev - Elisabeth Franz
Capt. Keller - Matthew Modine
James - Tobias Segal
Circle in the Square's last tenant, "The Norman Conquests," was a superlative example of the enhanced scrutiny and heightened involvement that can be afforded by in-the-round presentation. "The Miracle Worker" is a less ideal fit; its staging in this first Broadway revival appears shaped more by necessity than by concept. Kate Whoriskey directs William Gibson's midcentury chestnut with sensitivity, if not with any startling new insight. But the volatile battle of wills between the young Helen Keller and her teacher Annie Sullivan remains dramatically and emotionally effective, played with conviction by Abigail Breslin and Alison Pill.
Originally a 1957 teleplay, the drama was drawn from Keller's autobiography and Sullivan's letters. Gibson reworked the material for Broadway in 1959 and for the screen three years later, in both cases directed by Arthur Penn, starring Anne Bancroft and Patty Duke. That film version, which netted Oscars for both stars, remains a vivid benchmark for the raw intensity of the clashes between Keller and Sullivan.
Those fight scenes retain their visceral charge in Whoriskey's staging, even if the configuration at times partially obstructs the two protagonists' faces during crucial interactions.
In plays such as "Reasons to Be Pretty," "Blackbird" and "The Lieutenant of Inishmore," Pill has demonstrated her skill at animating prickly contemporary women who can go from sullen vulnerability into bellicose attack mode in a flash. She's no less convincing as 20-year-old Boston-Irish Sullivan, hired in 1887 by the Keller family in Alabama to serve as governess to Helen, left deaf and blind by an illness in her infancy.
Despite her lack of teaching experience, Annie perceives Helen's problem as an excess of pity and indulgence in place of communication. Her mother, Kate (Jennifer Morrison), showers the child with unconditional love, while her father (Matthew Modine), a stiff-backed former Confederate Army officer, believes she's beyond help. As a result, tantrum-prone Helen is an almost feral creature. Her instinctive intelligence means she knows how to get what she wants, delivering a well-aimed kick or left hook when she doesn't.
Annie's refusal to let sympathy condition her treatment of Helen is matched in Pill's performance by her total absence of self-pity. She speaks of her awful past -- her orphanage upbringing, the death of her young brother, overcoming her own blindness -- with hard-edged matter-of-factness. And the Kellers' skepticism about her youth and outspoken attitude bounces right off her. Only in letters to her mentor are the doubts beneath her headstrong toughness aired.
Breslin is equally persuasive, her cherubic features sharply contrasted by evidence of the plotting going on inside Helen's intellectually starved head. In a confident stage debut without the benefit of dialogue, the young thesp stays firmly in character whether she's violently acting out, howling with frustration, clamoring for comfort or fooling Annie with a false promise of obedience. Without shrinking in height, Breslin appears to ball up like a human fist, merely by planting her feet either side of her and tightening her jaw.
The close moments between teacher and student are the production's most affecting, particularly their first encounter, in which the importance of touch is established, and the alphabet "game" that will become Helen's key to learning is introduced.
Their brawls, of course, are the dramatic high points, led by the famous breakfast smackdown during which scrambled eggs fly as Annie banishes everyone else from the room until Helen learns to eat with utensils from her own plate.
Director Whoriskey ("Ruined") fosters a strong connection to the three characters at the play's center. The allegiances and conflicts among Helen, Annie and Kate (played with touching delicacy and warmth by Morrison) are conveyed with real heart. Secondary roles such as Helen's frosty aunt (Elizabeth Franz) and half-brother (Tobias Segal) are somewhat thankless, while Modine is one-note blustery as Capt. Keller, whose softening in the final scene typifies the more perfunctory aspects of Gibson's emotional climax.
Major dramatic license is employed in having Helen grasp the concept of words representing not only tangibles, but also feelings, in a single breakthrough. But the play is no less moving for it. And the core idea -- that Annie's perseverance is fueled by her own emergence from darkness, driving her not just to tame Helen but to open her world to knowledge -- resonates fully.
Designer Derek McLane economically suggests a comfortable 19th-century Southern home with a few pieces of furniture and door frames. However, the distraction of having them lowered and raised from the flies takes us out of the drama, adding to the feeling that a cozy proscenium stage might have been more accommodating. Paul Tazewell's costumes evoke the period with unfussy crispness, while Kenneth Posner's lighting is especially lovely in intimate moments. Rob Milburn and Michael Bodeen's music, predominantly strings and piano, adds suitably tender or dissonant notes.
At the first press night and reportedly through previews, the audience included an uncommonly high number of children for a nonmusical Broadway show -- many of them waiting afterward in the lobby to see Breslin. Their quiet attentiveness during the perf indicates that the half-century-old play and Keller's struggle still exert a hold on young imaginations.
Set, Derek McLane; costumes, Paul Tazewell; lighting, Kenneth Posner; original music and sound, Rob Milburn, Michael Bodeen; hair, Charles LaPointe; physical coaching and movement, Lee Sher; executive producer, Red Awning; associate producers, Rosalind Prods., Patty Baker/Anna Czekaj; production stage manager, J. Philip Bassett. Opened March 3, 2010. Reviewed Feb. 26. Running time: 1 HOUR, 55 MIN.
With: Daniel Oreskes, Michael Cummings, Simone Joy Jones, Yvette Ganier, Lance Chantiles-Wertz.
Variety is striving to present the most thorough review database. To report inaccuracies in review credits, please click here. We do not currently list below-the-line credits, although we hope to include them in the future. Please note we may not respond to every suggestion. Your assistance is appreciated.
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I love that clip and thanks for uploading the pics. Jen is great.. -
Aleki77 .
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CITAZIONEAnnie and Kate (played with touching delicacy and warmth by Morrison) are conveyed with real heart.
yes! I read it!
Thanks Briteen! I'm so happy for Jennifer (and for us
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briteen .
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More reviews...not so good
The USA Today
http://www.usatoday.com/life/theater/revie...acle04_ST_N.htm
As Kate Keller, Helen's devoted mom, Jennifer Morrison looks lovely but is called on to do little more than suffer and exude feminine charm — and, occasionally, wisdom. In the opening scene, Kate refers chidingly to "men and their battle scars," and the play can be cloyingly quaint in paying homage to the resilience and good sense of women.
The Hollywood Reporter
The supporting performances are less effective, with Matthew Modine too blustery as Helen's Civil War veteran father; Jennifer Morrison ("House") not making much of an impression as Helen's devoted mother;
www.hollywoodreporter.com/hr/film-r...004072401.story
The Chicago Tribune
http://leisureblogs.chicagotribune.com/the...il-breslin.html
Kate Keller (coldly played by the miscast Jennifer Morrison) is made to see that pity is not love.
Miscast?
Slant Magazine
www.slantmagazine.com/house/2010/03...-in-the-square/
Modine, as the caring, crusty dad, doesn't find too many grace notes here, nor does Tobias Segal as put-upon brother James, but Jennifer Morrison (of FOX's House) is surprisingly assured and natural. And you know there's a problem when Mrs. Keller seems more interesting than anybody else.
The rest is about the mistake of staging the play in the round
The Daily Caller
http://dailycaller.com/2010/03/03/the-batt...ins-compelling/
Jennifer Morrison comes off better as Helen’s well-intentioned mother, a loving woman whose generosity toward her daughter actually hampers the child’s development.
And more complains about the staging in the round.
More reviews here:
http://news.google.com/news/more?um=1&cf=a...M2Mjo0ZCv22R7UM
Edited by briteen - 4/3/2010, 03:23. -
Aleki77 .
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Miscast !! Miscast??? 
This person has never had a mother!CITAZIONEbut Jennifer Morrison (of FOX's House) is surprisingly assured and natural. And you know there's a problem when Mrs. Keller seems more interesting than anybody else.
I told Jennifer that she catalyzes the look, but also Alison Pill does it
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briteen .
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QUOTE (Aleki77 @ 4/3/2010, 03:22)Miscast !! Miscast???
This person has never had a mother!QUOTEbut Jennifer Morrison (of FOX's House) is surprisingly assured and natural. And you know there's a problem when Mrs. Keller seems more interesting than anybody else.
I told Jennifer that she catalyzes the look, but also Alison Pill does it
Good one Aleki, he should called her mother and apologize.
Did you tell Jen that you loved her performance?
Backstage
www.backstage.com/bso/reviews-ny-th...004072076.story
Further problems stem from Circle's long rectangle of a playing space. Whoriskey clears the stage for Act 1 scenes such as Annie's arrival at a train station, but her decision to have the actors greatly separated from each other results in a lot of yelling, which flattens out the performances of Matthew Modine and Jennifer Morrison as Helen's parents. In Act 2, after the Kellers have come to admire Annie's progress, scenes among them are staged with more intimacy, as if Whoriskey meant the distance to reflect the distance among the characters. Modine and Morrison both benefit, though neither Modine nor Tobias Segal, as James, Capt. Keller's grown son from a previous marriage, can quite make Gibson's somewhat contrived father-son clashes convincing. Elizabeth Franz is fine in the underwritten role of Helen's Aunt Ev, and young Lance Chantiles-Wertz makes a strong impression in the brief role of Annie's deceased younger brother, seen in flashbacks.
Seriously the stage in the round is a big mistake and it will probably be responsible for the play cancellation
Edited by briteen - 4/3/2010, 03:35. -
Aleki77 .
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CITAZIONEDid you tell Jen that you loved her performance?
Oh yes! And I wrote her about my favorite scene!
... oh .. and I told her about you (that you told us that Jen is a mother in warrior) ... and she confirmed me that in warrior she is a mother .. again ... she didn't realized that was the 3rd time about this fact
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briteen .
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QUOTE (Aleki77 @ 4/3/2010, 03:33)QUOTEDid you tell Jen that you loved her performance?
Oh yes! And I wrote her about my favorite scene!
... oh .. and I told her about you (that you told us that Jen is a mother in warrior) ... and she confirmed me that in warrior she is a mother .. again ... she didn't realized that was the 3rd time about this fact
You're so sweet Aleki, at least her fans love how she is, who cares about those nasty reviews. I was hoping they would change the stage before its opening night
LOL that she didn't realize she was playing a mother for the third time. I hope Hollywood doesn't put her in the role of a mother from now and on, she's too young in Hollywood terms for that. She should play the "girl" before it's too late, if you know what I mean.
THE NEW YORK TIMES
http://www.nytimes.com/aponline/2010/03/03...orker.html?_r=2
The battle to illuminate the mind and heart of Helen Keller remains as compelling as ever, even if the first Broadway revival of William Gibson's ''The Miracle Worker'' suffers from inhospitable surroundings and a supporting cast forced to bellow its way through much of the dialogue.
Jennifer Morrison comes off better as Helen's well-intentioned mother, a loving woman whose generosity toward her daughter actually hampers the child's development. Annie's idea of ''tough love'' is an intriguing aspect of the play that director Kate Whoriskey makes strikingly clear.. -
Aleki77 .
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lol! When she realized, her expression was confused and then we laughed together, we saying that now it was her role. ... but yes, I understand.
About stage in the round, I think that the director wants to make something hyper realistic ... if you know what I mean ..
after party ... Alison Pill .. but I think to see also Jennifer Morrison
www.twitvid.com/A283F
http://twitter.com/Broadwaytv/status/9954267532
is there Jennifer?
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Aleki77 .
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As Kate Keller, Helen's devoted mom, Jennifer Morrison looks lovely but is called on to do little more than suffer and exude feminine charm — and, occasionally, wisdom. In the opening scene, Kate refers chidingly to "men and their battle scars," and the play can be cloyingly quaint in paying homage to the resilience and good sense of women.
But let's at least give Miracle Worker's late author, and its new director, credit for good intentions — and for providing yet another pair of exceptional women with a vehicle, however rickety.
http://www.usatoday.com/life/theater/revie...acle04_ST_N.htm.
2010 - THEATRE - The miracle worker |
