"The Testament of Mary"'s Fiona Shaw, Deborah Warner & Colm Toibin on Daring To Tell This Epic Story The New York Times calls The Testament of Mary “beautiful and daring.” The New York Review of Books calls it “subversive and ruthless,” and lauds it for its “sensational theatricality.” And Entertainment Weekly says it is “spellbinding and emotional. The historic collaboration between actress Fiona Shaw and director Deborah Warner results in the creation, for the first time, of a new work for Broadway, written by acclaimed author Colm Tóibín. This was the official website for the controversial 2013 Broadway show by Colm Tóibín, The Testament of Mary, starring Fiona Shaw.Ĭontent is from the site's 2013 archived pages as well as from other outside press and review sources. Every subsequent Engineer on Broadway and on national tours has been played by an actor of Asian heritage.The Controversial 2013 Broadway Show by Colm TóibÃn, The Testament of Mary Pryce’s makeup before the transfer from London, but it wasn’t enough to mollify the protesters who gathered outside the Broadway Theater.
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Just as “God of Vengeance” yielded its own dramatic adaptation in “Indecent,” this pop-opera “Madame Butterfly” update - which starred a heavily made-up Jonathan Pryce in the role of a Eurasian pimp called the Engineer - spawned David Henry Hwang’s “Yellowface.” The producers did away with Mr. Since American audiences quickly adopted a been-there-seen-that attitude in the 1970s - “There is no more innocent show in town,” reported The New York Times critic Clive Barnes - the producers actively courted foreign audiences, spending about $35,000 a year solely on Japanese-language advertising for its long-running 1976 revival. Charges of impiety would also arise in later years over “The Book of Mormon,” “The Testament of Mary” and especially the Off Broadway play “Corpus Christi.”Ī few dimly lit seconds in “Hair” gave way to lots and lots of nudity a mere three years later in this revue with segments written by John Lennon, Jules Feiffer, Sam Shepard and (before he pulled the rights) Samuel Beckett. But there’s a thin line between boisterous and blasphemous, and both Christians (who didn’t like seeing Judas as a protagonist) and Jews (who worried about the villainous depictions of Herod and Caiaphas) ended up protesting the work. The “Hair” director Tom O’Horgan struck again with this freewheeling adaptation of the Andrew Lloyd Webber-Tim Rice concept album.
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Not one but two Supreme Court decisions weighed in on contested productions (including one in, you guessed it, Boston) the Apollo 13 astronauts made headlines by leaving at intermission and members of the touring casts were issued an eight-page guide on how to handle the local police. Hair (1968)ĭrug use and irreverence toward the American flag had as much to do with the furor that rose around this “American tribal love-rock musical” as its famous - and famously brief - nude scene. The play was so incendiary that Hellman not only removed any mention of lesbianism but even changed the title - to “These Three” - for the film version in 1936. It was banned in Boston the following year, and the New York Drama Critics Circle sprang into existence in the wake of the Pulitzer Prize committee’s refusal to award Hellman. As with “God of Vengeance” and “The Captive,” homosexuality was at issue in this Lillian Hellman drama.