Talk Back/Talk Smack

Michael Reidel's latest column discusses the announced closing of OLEANNA, stirring up conrtoversy saying Mamet's axing of post show talk backs (and his general refusal to assist in any publicity) is part of the show's downfall.  The article fails to acknowledge the real issues at hand--a lazy production shipped in from LA with a director busy with another show down the street, two stars who weren't asked to do much more than be famous and pretty and learn their lines, and a dated script.  I did sense, reading posts from bloggers who attended the talk-backs (when they still existed) that the post-show event did add some value.  And I might have enjoyed hearing differing opinions from my own had I stayed.  But, talk-backs or the lack thereof are not what did OLEANNA in, star-fucking did.  Maybe it's true that you need boffo box office names above the marquee, but you need a good production on the boards.

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Speaking of Talk Backs, last night I was inviteded to attend 39 STEPS, which also featured a talk back (hosted by Bob Balaban).  Again, I declined the invitation to stay, but I was curious as to what there was to talk about.  The evening was clever and executed to perfection, but didn't leave me with anything to think--let alone speak aloud to a group of strangers--about.  Its producers seem to by eyeing an Ave Q-esque move to New World Stages.  The show could certainly work there, and if they can generate audience interest, all the more power to them.  However, 39 STEPS didn't particularly ingratiate itself on me, and I have a hard time imagining myself rooting for its continued success that way I have (and do) with Q.  Partially because Q is about my life (struggling in Brooklyn in your 20s), whereas STEPS isn't really about anything other than a love of old movies and quick-changes (both of which I do enjoy).  But the house seemed full on a Tuesday night, and it is an "easy" show, one I could recommend to anyone without worrying it would be too weird or long or cheesey or in any way objectionable.  And perhaps that is the key to its longevity: it really is a show for everyone.  It just isn't a particularly insightful, moving or interesting show.