England meets the Westons

Tonight, August: Osage County begins previews at London's National Theatre with most of its original Broadway cast intact, including Amy Morton reprising her role as Barbara Weston. To mark the occasion, check out an interview Kris Vire conducted with the Steppenwolf Theatre Company member that appeared earlier this month in Time Out Chicago.

Among other things, Vire asked whether she was done with August after London. Here's what Tony-nominee Morton, who left the Broadway run Oct. 12, had to say about that:

"You know, never say never. They’re talking about a tour. Who knows how long it will last on Broadway? Some of us might go back in, but I absolutely—my back and my neck feel so much better in the last week, I can’t even tell you! I lost about 15 pounds in New York just doing this dang play."

And on fame:

"The great thing about August: Osage County was walking out of the stage door and people saying, “This is my third time seeing it, my fourth time seeing it,” and wanting to talk about it and wanting your autograph because they loved what they saw, not because you’re famous."

And on acting:

"I mean, for as shitty as this business can be and as insulting as it can be, I still believe that acting is a noble profession. And actors get to fall in love, murder, fly, make out with people that aren’t their spouse—they get to do all this stuff on stage that everybody in the world has always wanted to do. Who hasn’t wanted to strangle their mother at one time in their life?"

Moving day

Today is moving day for August: Osage County, so it's time to show my favorite Broadway play some more love. Not that I need an excuse, of course - I can never say enough good things about Tracy Letts' witty, acerbic, immensely entertaining work, and the amazing ensemble from Chicago's Steppenwolf Theatre Company that brings it to life.

The Pulitzer Prize-winning multigenerational family drama was performed for the final time yesterday at the 1,443-seat Imperial Theatre. The Imperial's next tenant, Billy Elliot, isn't moving in until the fall, but it apparently needs quite a bit of prep time. So, August: Osage County is packing up its mammoth three-story house of a set and relocating next door, to the cozier confines of the 1,009-seat Music Box, where it reopens on April 29.

Last night, I watched a discussion from February on the American Theatre Wing's Working in the Theatre program that featured August: Osage County cast members Amy Morton, Rondi Reed and Jeff Perry, along with Laurie Metcalf, a Steppenwolf ensemble member who's also on Broadway, as a presidential speechwriter in David Mamet's November.

It was really interesting to hear Perry, one of Steppenwolf's cofounders, talk about the company's humble beginnings. The nine actors who would become the Steppenwolf ensemble met through high school and college in Illinois. Their first home, in the summer of 1976, was the youth center of a church basement in a Chicago suburb.

In the early days, Reed recalled, when guest actors would come to Chicago to perform with Steppenwolf, they'd always tell ensemble members that they didn't need to go to New York or California to have a career, they could make theatre right at home. "So of course we, like idiots, took that to heart and ran with it."

While ensemble members have gone back and forth over the years for various movie, television and theatre projects, they've retained a sense of loyalty to Steppenwolf. "There's been such a complete esteem for each other's work," Morton says. "These are the people I always aspired to. it's been the work that's kept everyone together."

Metcalf, who has had numerous film and television roles, and won three Emmy awards for Roseanne, tries to return to Steppenwolf at least every two years. "I feel like I have to go back every so often to recharge,'' she said. "It's the only time working as an actor where you feel like you're in charge, you can lead the audience where you want them. It's a really powerful feeling. There's nothing else like it. Maybe we all gravitate back toward theatre because we started out in theatre, I'm not sure. But once you get that bug, it never leaves. And we're still going to be doing this forever."

Morton brings incredible emotional depth to the role of Barbara Fordham, the stressed out and overburdened eldest daughter of the Weston clan. She recalled the first time Letts gave her the script of August: Osage County to read. When she looked at the thickness of it, she was a little daunted - and dismayed. Her first thought was a kind of resigned, "God, Tracy." But when she finished, "I immediately called him and said this is the most amazing thing I've ever read."

Perry, who portrays Morton's philandering husband, Bill, says that director Anna D. Shapiro connected with the play in way that no other assignment had before, relating its characters to members of her own family. "And I think that's true in some ways with all of us. It's deeply satisfying family territory."

The only actor Letts had specifically in mind when he wrote the play was Reed. She's hilarious as Aunt Mattie Fae Aiken, especially in the scenes with Francis Guinan, who plays her husband, Charlie. But incredibly, she initially turned Letts down. "I thought, you know, this isn't me," Reed said. "Why does he want me to do this? I've done this role before." Then, in rehearsal, during one of the rants her character goes on, she stopped and said, "Oh, now I get it. Now I see why you want me to do this, because I'm perfect for it."

Reed also mentioned rumors about taking the play to London or the West Coast. (And, I'm happy to report, there are plans for a national tour beginning next fall). "The play will live on for a very, very, very long time," she said. "It's a great thing for the American theater to have a new play written by, directed by and acted by kind of all unknowns. It gives a lot of hope to the American theatre."

August: Osage County

As soon as I walked into Broadway's Imperial Theatre and got a look at the set for "August: Osage County," I was captivated. It was the most fascinating set I'd ever seen on a stage - the interior of a three-story house crammed with shabby furniture, taped-up windows and books piled up everywhere. Created by Todd Rosenthal, it just looked so lived-in, so real. What a perfect setting for the messy events that were about to unfold.

Playwright Tracy Letts, director Anna D. Shapiro and fellow members of Chicago's Steppenwolf Theatre Company have created a portrait of American family life that is searing, emotional, hilarious, witty, tragic and oh so very true. I was mesmerized by it and I can only imagine that this is how audiences felt when they saw "Long Day's Journey Into Night" or "Death of A Salesman." "August: Osage County" definitely belongs in a league with those American classics. The 3 1/2 hours I spent in the theater just flew by.

The play is set during a sweltering Oklahoma summer, and you can feel the heat on the actor's faces. It opens with patriarch Beverly Weston talking to Johnna Monevata, a young Native American woman he's hired to look after his wife, Violet. Weston, liquor bottle at hand, is played by Dennis Letts, the playwright's father. He explains that he drinks and his wife, who has mouth cancer, takes an assortment of pills. A poet, Weston gives the woman, played by Kimberly Guerrero, a volume of poetry by T.S. Eliot. (Interestingly, Eliot's first wife, whom he deserted, suffered from physical and emotional problems and was eventually committed to an asylum).

From the moment she enters, Violet Weston, played by the remarkable Deanna Dunagan, creates an unforgettable portrait of a sick, addicted, bitter, miserable, lonely woman. Still in her pajamas, her hair tousled, she stumbles down the staircase, her walk off-kilter, her speech slurred, her face twisted into a permanent scowl. Not only does she have mouth cancer, but almost everything that comes out of her mouth is acerbic, vindictive and cruel. Letts told TimeOut New York that Violet is based on his grandmother. When he finished the play, he gave it to his mother, novelist Billie Letts, to read, and her first comment was, “I think you’ve been very kind to my mother.”

When Beverly Weston disappears, the couple's three daughters are left to cope with their mother. In many ways, the relationship between Violet Weston and her daughters is the heart of the play. Violet Weston is judgmental, overly critical, and desperately afraid of being abandoned. And her daughters are desperately afraid of having to deal with her.

"August: Osage County" is about the lives and struggles of four generation of American women, a trajectory that runs from Violet Weston's own (and unseen) mother, through her life, and that of her daughters and granddaughter. Letts writes with razor sharpness, wit, empathy and total believability. My only criticism is that he writes so well for female characters, the male characters end up a little overshadowed.

Barbara, the eldest daughter, played by Amy Morton, lives in Colorado with her philandering husband, Bill (played by Steppenwolf co-founder Jeff Perry) and pot-smoking daughter Jean. Ivy, the middle child, played by Sally Murphy, lives nearby and is afraid and resentful that she will have to deal with her mother alone once her sisters leave. Karen, the flighty youngest daughter, played by Mariann Mayberry, lives in Miami with her fiance, Steve, played by Brian Kerwin. Also in the picture are Violet's sister, Mattie Fae, played by Rondi Reed, her husband, Charlie, played by Francis Guinan, and their son, Little Charles, played by Ian Barford. Madeleine Martin, who plays Jean and Troy West, portraying Sheriff Deon Gilbeau, round out the cast. Everyone except Martin and Kerwin are veterans of the play's sold-out Chicago run and they are all superb.

Letts gives Morton some of the best dialogue in the play. Her dilemma is all-too-recognizable for many American women, caught in the "sandwich" generation, struggling to take care of her child and her aging, increasingly needy mother, while holding down a job and trying to salvage her marriage. Her outburst midway through the play, when she's at her wit's end from the strain, is devastating. As someone who's experienced some of that same strain, I was blown away by the honesty of Morton's performance.

Guerrero also deserves special mention. She's probably best known for playing Jerry's girlfriend Winona in a very funny "Seinfeld" episode, "The Cigar Store Indian." In "August: Osage County," she hardly has any lines, yet I felt myself drawn to her no matter where she was on stage, bringing food from the kitchen to the dining room, or simply curled up on her bed on the top floor of the house, reading the book Beverly gave her. She is the servant who is almost unseen and yet sees everything. In a key piece of dialogue, she reminds us of the importance of family ties. I thought she was remarkable - because she had so little to say, yet her presence said so much.

Through the course of 3 1/2 hours, we learn how angry this family is at each other, the secrets they have kept from each other, and the ways they have hurt and betrayed each other. Failure casts a pall over this house: marriages are failing, parents are disappointed in their children, and we learn that after his first, early success, Beverly Weston never publishes a second volume of poetry.

But "August: Osage County" is more than angry outbursts. The banter early on between Mattie Fae and her husband, Charlie, is hilarious. And Letts has some very pointed, witty observations about how the Greatest and the Baby Boom generations view each other. "If you worked as hard as we did, you'd be president," sneers Violet. What made them the Greatest Generation, Barbara asks sarcastically, "because they were poor and hated the Nazis?" Everybody hated the f---ing Nazis."

Before I saw "August: Osage County," I only knew the Steppenwolf Theatre Company through its famous alumni - including Gary Sinise, John Malkovich, Joan Allen and John Mahoney. I walked out in awe of Steppenwolf and this amazingly talented group of actors. Regional theaters like Steppenwolf truly are national treasures. Where else, after all, would a 3 1/2-hour serious play by a relatively unknown playwright have a chance of getting produced, much less transferred to Broadway?

I'm afraid that once the stagehands strike ends, it will be serious plays like "August: Osage County," without recognizable stars, that will suffer. And that would be a shame. So if you're planning a trip to Broadway, please put this riveting, thought-provoking work at the top of your list. It deserves to be seen by as wide an audience as possible. I guarantee you will see people - and situations - that you know from your own life. You will be thoroughly entertained and thoroughly moved.