Tag: Meryl Streep

Will Julia Roberts & Meryl Streep battle it out in “August: Osage County” film?

It’s been reported this evening by Deadline that the Meryl Streep and Julia Roberts are in talks for the film version of August: Osage County. I’ve heard rumors about this casting for months now, but this is the first time I’ve seen anything in print. The other rumor I heard was that Mike Nichols would direct, instead TV show runner and writer John Wells will helm the film, his second feature. (His first, The Company Men, hits the big screen on October 22).

Playwright Tracy Letts has adapted his own play for the screen and truthfully I’m quite curious to see how he has adapted the work. The play was first produced at Steppenwolf during the summer of 2007, starting something of a sensation in Chicago. It came to Broadway’s Imperial Theatre for a limited engagement that fall, quickly extending its engagement and transferring next door to the Music Box for an open-ended run. Most members of the original cast gathered for London and Australian engagements which quickly became must-see events.

It’s no secret that I’m not the biggest Streep fan – not that I don’t think she’s a good actress, I just don’t think she’s the greatest. However, as much as I was hoping for someone more interesting (or perhaps even Southern) in this part, I’m certain she will deliver a professional performance that is sure to add another Oscar nomination to her belt. While Barbara Fordham is the lead in the sense of the story’s arc and character development (it is ultimately her story), Violet gets all the memorable one-liners and is ultimately a terrifying and antagonizing presence. The role’s originator Deanna Dunagan swept the NY theatre awards while starring in the Broadway run and her replacements Estelle Parsons and Phylicia Rashad received rave reviews.

However, it’s the casting of Barbara Fordham that has me scratching my head. Roberts is an established movie star with the requisite charm, but I’ve always found her range to be limited. I could be wrong and she might work in the part, but I have serious doubts. I was admittedly blown away by the powerhouse performance Amy Morton gave in the original stage production and would have, in an ideal world, liked seeing her take on the role for the screen adaptation. But in lieu of Morton, I can’t help think that Laura Linney would ultimately be the best choice. Julia seems more ideal for Karen or Ivy.  However, for the sheer resemblance factor I’d put Jennifer Ehle and Natasha McElhone opposite Streep. No word on any other casting.

I am, and have been, curious as to how this play would open up on the big screen. The play runs three and a half hours, with a large cast of characters (and some emotional pyrotechnics) but the action is limite to the Weston house, which is itself a character. Many of the family skeletons come dancing out of the shadowed cobwebs in a situation that is even explicitly described as “fraught” by the character Mattie Fae. It will be interesting to see whether or not the film will successfully open up on film.

Perhaps I’ve been spoiled: I was there on Broadway for the show’s opening night. I can’t imagine a better experience for this work than live onstage, fueling the audience with the hilarious and heartbreaking antics of the extended Weston clan. Seeing the show seven times in NY, I heard reactions to scenes that I haven’t heard at other musicals, let alone plays. Morton herself likened the experience to being at a hockey game. Then again, the perfect solution would have been taping that original cast (especially the definitive Dennis Letts as Beverly) for airing on PBS or Showtime.

Again, this is only word that they are in negotiations. It doesn’t necessarily mean either one is definitely taking on the project (though they’d be fools to pass up on these great roles). Personally, I would just prefer a more interesting lineup.

Doubt: A Film

[I don’t intend on spoiling anything, but I do discuss certain aspects of the plot that may be considered spoilers, hard as it be to avoid them whenever you discuss this piece. So if you’re on the spoiler police squad that usually cries foul at those who do, go see the film first just to be on the safe side :)]

I rank seeing the original Broadway cast of Doubt high on my all-time list of theatre going experiences. Part of the appreciation stemmed from my Catholic upbringing and nine years spent in a parochial school, but mostly I was impressed with Shanley’s text. The principal of a 1964 Bronx Catholic school suspects one of the priests of having an inappropriate relationship with the school’s only black student. And go… the play in its taut ninety minutes isn’t about the validity of whether or not the priest has done it, but about the greater ramifications of our certainty and judgments. You have nun vs. priest, encompassing a greater conflict of conservative vs. progressive, Vatican I vs. Vatican II, man vs. woman (especially in the patriarchal hierarchies of the Roman Catholic Church).

As I watched the terrific play unfold onstage, I couldn’t help but think that it would open well for film and to my delight it has. There are aspects that will remain for my theatrical experience, the play’s dialogue is so expertly written (crafted? manipulated? you decide) to give the audience only circumstantial evidence for either argument. However, one must base their decision on the facts and not what is circumstantial which has led many theatre patrons to have fantastic discussions following three tier: they supported the nun, they supported the priest or they hadn’t a clue. The playwright’s intention was the latter, but far be it from anyone to convince anyone otherwise.

Shanley’s screenplay and direction have taken the play out of the church and principal’s office, giving us scenes in the courtyard, classrooms, convent, rectory and street, opening it up without tampering too much with what was presented onstage. Meryl Streep gives a stern, magnificently restrained performance as Sr. Aloysius, the principal who either has it in for this priest, or has the interests of her students in mind. Philip Seymour Hoffman is credible as Fr. Flynn, the charismatic priest who has…well, what has he done? I’m afraid I don’t know, nor do I think I ever will know. Amy Adams is spectacular as Sister James, the 8th grade teacher who finds herself caught in the middle of the battle. Viola Davis, on screen for 11 minutes as Donald Miller’s (why the change from Muller to Miller… anyone?) mother, is magnificent. Her scene is both devastating and unsettling, particularly in the unexpected turn their conversation takes. I can vividly recall the look on Cherry Jones’ face at the Walter Kerr, which was not unlike that on Meryl’s face.

The love of the play didn’t hinder me seeing this film, in spite of my underwhelming reaction to the casting of the two lead roles. In an ideal world, all our original casts would get to put their roles on screen. Cherry Jones was no exception for me. I had heard talk of her for years, but hadn’t really seen much of her work save for Cradle Will Rock and a memorable cameo in Ocean’s Twelve (the only thing I can recall from that otherwise DOA sequel). However, I was taking in her Tony winning role, especially beating the voracious Martha of Kathleen Turner. Well, to put it simply, I will drop anything and everything to see her onstage (only we’ve lost her to the current season of 24 where she plays the latest US president caught up in the world of Jack Bauer). Her performance as Aloysius ranks near the top of the list of live theatre experiences I’ve had, ably matched by the youthfully virile Brian F. O’Byrne sporting a Bronx accent and nary a trace of his Irish in a verbal volley for the ages, putting me at the edge of my seat. Her command of the stage and the audience was just thrilling, with her exceeding the hype surrounding her, with a performance reminiscent of the more stern nuns I’ve known and adored.

Anyway, the film is for the most part, quite excellent. Of all things I’m kind of nonplussed at the establishing shots of the film that really weren’t necessary. A nice touch too with Shanley giving Streep an entrance, with a great reveal after scolding several students for misbehavior at Mass. She gives one of the best turns I’ve ever seen her give (this from someone who finds her highly overrated, no offense meant) and certainly worthy of the accolades that have come her way. She finds her way through the script without being a total harridan which is important, especially in the final confrontation sequence. Hoffman, regardless of how the award guilds look at it, is giving a lead performance and is outstanding.

The final confrontation scene was electric onstage and I miss the higher stakes seen onstage, though that is a personal quibble and those of you seeing the film without having seen the show staged, this will mean nothing to you. Go, enjoy the film and discuss, it’s strength is in the text and in the performances (it’s fun too if you’ve seen the play to see where Shanley has cut and added scenes and dialogue). The writer and actors often discussed how the the play itself was the first act and the second act was the audience leaving the theatre arguing and debating over what they had seen. I would love to know what you thought about it as well.

It should be interesting to see how the film fares on Oscar night. While it was denied a Best Picture nod, the four main actors are in contention. The Best Supporting Actress category minus favorite Kate Winslet has suddenly become the one category that is completely up in the air and bears watching. Hoffman doesn’t stand much of a chance against the juggernaut of the late Heath Ledger and his iconic performance in The Dark Knight. And it appears that Best Actress is between Meryl and Kate. I’ll be en route to or in the airport at that point… so lord knows if I’ll see any of it.

Oh, and before I forget. One touch I loved? The casting of Helen Stenborg as Sister Teresa. Stenborg, the widow of the late Barnard Hughes, is the mother of Doug Hughes, the Tony-winning director of the original production.

Doubt: A Trailer

Meryl Streep…
Philip Seymour Hoffman…
Amy Adams…

and of course the great Viola Davis.

Doubt.

Judging strictly by the theatrical trailer, it looks like the film adaptation of Doubt is going to be quite good. As a matter of fact, it looks like it might be excellent and a major awards contender this Oscar season. The play, which won the Pulitzer and Tony back in 2005, has a taut, masterful structure and one that I felt would open up well on screen. I have to admit that I was biased in favor of the original cast and rather disappointed when Meryl Streep and Philip Seymour Hoffman got the leads. (Comparisons are unfair, yet inevitable. If you go to the message boards, there is no shortage of opinion and the insults hurled at said opinions are ringing out like freedom). I have to say for as strong as the film appears to be, I feel that the two leads lack the distinctive characterizations that made the set match between Cherry Jones and Brian F. O’Byrne so fascinating. Especially with Sister Aloysius, a formidable Catholic school principal with considerable authority, but who is essentially powerless in the greater patriarchal hierarchies of the Catholic church.

I’m curious to see if Streep and Hoffman can give the characters the distinctive objectivity that made the stage production fascinating to watch. Aloysius was tough but never a sinister harridan in spite of her convictions. (Those calmer revealing moments about her character spoke volumes to an inestimable warmth hidden under the stern veneer and stiff habit). My one qualm is that the trailer shows the nun in a more damning light, with Streep seeming a bit too Regina Giddens for the character. (Perhaps Streep should consider a revival of The Little Foxes in NY?) Flynn was the ideal younger priest – progressive, charismatic and incredibly impassioned. The way the play has been written, it isn’t easy to side with either one. I am most curious to see what happens when these characters are placed on screen.

Amy Adams looks like she is a stellar choice for the role of Sister James, the anemic, young nun who finds herself getting caught up in the battle between Aloysius and Flynn. Knowing what I do of the character and just from seeing her in this trailer, I get the distinct feeling that Viola Davis is going to walk away with the film, in tradition with original cast member Adriane Lenox who won a Featured Actress Tony for her 8 minute scene.

When I saw Doubt, my sympathies volleyed back and forth between Aloysius and Fr. Flynn throughout the ninety minute parable. Shanley offered in his playbill bio the opportunity to send him an email telling him of your thoughts and I did so. If I delved further into my thoughts here, I would spoil things for those unfamiliar with the piece. At the end of the play, I couldn’t side with either one. Both had strong arguments and emotions, but at the heart of it, there was nothing but circumstantial evidence to back it up.

Did anyone see the original production of Doubt? Any thoughts on the upcoming film?

Doubt, A Movie


With my nine years spent in Catholic elementary school, with nuns and all the fixings, I was incredibly intrigued to see this play when it first opened. I had never seen Cherry Jones before and frankly was wondering what the fuss was about. Until I saw the play. Her performances as Sr. Aloysius was one of the more spectacular I have ever seen and consider myself a big fan. Brian F. O’Byrne was her considerable equal, especially when their conflict came to a breaking point towards the end. Myself and many other theatregoers left the play quite stunned; a final revelation shocking us and leaving many of us with uncertainty as whether which one was to be believed.

Now the film. Meryl Streep and Philip Seymour Hoffman pick up where these two great stage actors have left off. They are joined by Angela Bassett and Amy Adams (two rather exciting bits of casting, I must say). I’ve got to confess that while I’ll be seeing the film, I’m less than excited with at the casting of Streep and Hoffman. I hope come December they can change my mind.