A few thoughts on Harry Potter and the Deathly Hallows: Part 2

Every year there's a summer blockbuster that I end up catching months later on DVD and wish I'd seen it at the movies.

I didn't want that to happen with Harry Potter and the Deathly Hallows: Part 2, so this afternoon I became part of a record-breaking opening weekend for the final film installment of J.K. Rowling's series.

I've been kind of indifferent toward the Harry Potter movies. I saw the first couple, then skipped a few in the middle. To me, they weren't as interesting as the books, all of which I've read and enjoyed. Still, this was the last one, so I really wanted to see it on the big screen.

I never got around to Deathly Hallows: Part 1, and I was surprised that Part 2 began without any introduction to the characters or story. It just begins, like there was a short intermission and you've returned from the bathroom or getting a snack. Luckily, I remembered enough from the book that it didn't matter.

And I can understand the point of view of director David Yates. If you've never read a word of the books or seen any of the movies, it's unlikely you'd start with this one. Still, if you're thinking about taking it in just to see what the fuss is about, don't bother. Or at least rent Part 1 first.

Deathly Hallows: Part 2 has a dark, apocalyptic look that's so appropriate for a climactic battle with Voldemort. I got a bit choked up at the end, even though I knew what was coming. I liked it, although it's obviously special effects and action driven, which is why in the end, I prefer the books.

I was thinking afterward what a great job Rowling did in synthesizing British history and literature and culture. She explores this idea of a mythic, idealized English character in a strong and absorbing way.

There are shades of Shakespeare, Dickens, Tom Brown's School Days, the Arthurian legend, St. George and the Dragon, the Duke of Wellington and probably other influences that I'm not sufficiently Anglophile to pick up on.

And Rowling blends everything together in a way that's masterful. I wish there had been a series like Harry Potter when I was growing up. They're thick and detailed and wonderful books to just lose yourself in. (The closest would be Lord of the Rings but they're more for high school or college.)

The other thing I'd like to mention is Daniel Radcliffe. I was never a big fan of Radcliffe's from the movies. He always struck me as kind of a passive actor. But I realized in this final Harry Potter that he's perfect for the role.

I read online somewhere in the past few days where someone questioned (jokingly, I assume) whether Warner Bros. had been hoping for a growth spurt somewhere between the first and last films. The writer concluded that Radcliffe's size actually works in his favor, and I agree.

I think part of Radcliffe's strength as Harry is that he's not 6 feet 5. He's got this boy-man look and that gives him an appealing vulnerability and he uses it well. It heightens the underdog quality. I think his slender build also makes it easier for young audiences to identify with him. He's a life-size hero.

But the place where I've truly come to appreciate Radcliffe's talent is onstage. I thought he was riveting in his Broadway debut in 2008 as a troubled teenager in Equus. And he's utterly delightful making his Broadway musical debut this year, in How to Succeed in Business Without Really Trying.

I'm hoping Radcliffe will continue his theatre work, becoming part of a tradition of great British actors who move seamlessly between stage and screen.

Daniel Radcliffe, I tip my Sharpie to you

Congratulations to Daniel Radcliffe for getting his caricature unveiled at Sardi's this afternoon. He'll be part of an illustrious tradition and it's a well-deserved honor, in my opinion.

While I had mixed feelings about the play, I thought he was terrific as a very troubled teenager in Equus. And in every interview I've seen he handles himself so well. For a great example, check out what he had to say on Theater Talk about the challenge of keeping his performance fresh.

I think this is a good time to say that I owe Daniel an apology. When I wrote in November about getting his autograph at the stage door I mentioned that he seemed to take an awfully long time to sign his name. I suggested, in what I hope was a lighthearted way, that he practice a quick, illegible scrawl.

I didn't realize until later that he has a condition called dyspraxia, which affects his handwriting. So of course, I feel horrible. He mentioned dyspraxia briefly when he was on Inside the Actors Studio and he talks about it a little more in depth in this interview by Kevin Sessums at The Daily Beast. (Thanks to Rocco at What's Good, What Blows for the link.)

"I have a very mild form of it. I’ve gotten it mostly under control now. I played a lot of videogames as a kid which really helped it. It basically surfaces as bad coordination. Another example of it is how terrible my handwriting is because I can never quite tell when the pen is going to land on the page."

Now I have even more respect for him trying to sign all of those Playbills after a performance. He'd have a perfectly understandable reason for bowing out of the task, but he doesn't. And judging from the number people who find my blog by searching for Daniel Radcliffe, stage door and autographs, I know how much it means to his fans that he makes the effort.

You can catch Daniel on Broadway in Equus at the Broadhurst Theatre through Feb. 8.

Equus

Gratuitous Violins rating: **1/2 out of ****

I've never been all that enthralled with Daniel Radcliffe in the Harry Potter movies. But now that the boy wizard is all grown up and tackling a big, adult stage role - wow, what difference. Seeing Radcliffe make his Broadway debut in the revival of Peter Shaffer's Equus, at the Broadhurst Theatre, really gives me a new respect for him as an actor.

Radcliffe plays Alan Strang, a British teenager who inexplicably blinds six horses at the stable where he works and winds up in a psychiatric hospital. Richard Griffiths (Uncle Vernon to you Harry Potter fans) is Martin Dysart, the psychiatrist who tries to get at the reason why Strang did something so horrible, and to help him.

I really enjoyed Radcliffe's performance as a troubled boy, the way he reveals more and more about himself as Dysart peels away the layers of this mystery. At first, he's barely communicative, speaking in television jingles or giving short, clipped answers to questions. Dysart learns from the nurse at the hospital that Strang is plagued by nightmares, and it's clear he's in great pain.

In John Napier's scenic design, audience members sit above the stage in a semicircle - almost like they're overlooking an operating room - or for some reason, I thought of an ancient amphitheater. And the horses - actors wearing these oversized aluminum heads and hooves - are striking, especially Lorenzo Pisoni as Nugget, the horse to which Strang has an erotic attachment, and takes on secret nighttime rides.

I'd never thought of Radcliffe as very expressive performer but I was really struck by the way he moves in Equus - leaping on the back of a horse, trembling under a blanket after all of his defenses have been stripped away. He's a slight person and he makes Strang seem like kind of a loner - a quiet boy, not very social, not an intellectual, not someone you'd notice if you passed him on the street. It's probably not a coincidence that his name is close to "strange."

Griffiths was ok, but he didn't totally engage me as Dysart. I didn't find him all that compelling as a character. Maybe the problem is the play itself. A great deal of his dialog is a soliloquy in which he envies Strang's passion and bemoans the fact that he doesn't have anything remotely like it in his own life. While he's an academic who studies his obsessions from a safe distance, Strang has immersed himself in them. He'd love to feel something as deeply as Strang does.

Religious faith and overly strict parenting also seem to take a hit in Equus. Strang's mother has imbued her son with a deep faith - something his father disdains, along with television. When his father tears down a drawing of the crucifixion hanging in the boy's room, Strang replaces it with a photograph of a horse - and transfers his worship in a way that's well, disturbing to say the least.

It's almost as if Shaffer is saying, keep the kid from watching telly and fill his head with Bible stories and this is what you'll get. And that doesn't seem quite fair - either to religion or parents. Deep religious faith doesn't necessarily lead to the kind of obsessive devotion that Strang displays.

I was kind of disappointed in some of the supporting cast, too, especially Carolyn McCormick and T. Ryder Smith as Strang's parents. Neither one really came to life for me in any great way and McCormick especially seems to have one overwrought tone throughout the whole play.

But Anna Camp was terrific as Jill Mason, the more worldly girl who gets Strang a part-time job at the stable where she works, and lures him into a sexual situation. She's the opposite of Strang - talkative and perky and quite effective in the role. I don't think she means to hurt Strang but she's clearly leading him into something that he's not ready to handle.

There's been a lot of talk about their nude scene, which comes near the end of the play. (Ok, all of the talk has been about Radcliffe and to answer the question on the minds of his fans - he wears boxers.) I thought it was very tastefully done and both young actors handle it well.

Dysart agonizes over whether he'll destroy the boy's passion if he cures him. I think it's an interesting question, this intersection of madness and passion and what do you take away when you restore sanity. Do you somehow diminish the creative process? But I can't really believe that Dysart could envy Strang. His passion leads to violence. Next time, he could hurt himself or someone else. And that's nothing to envy - or romanticize.

Daniel Radcliffe and the sweaty shirt

I really look forward to the pitches that cast members make at the end of the show this time of year for Broadway Cares/Equity Fights AIDS.

First, it's a great cause and I always drop something in the bucket. The organization helps people with HIV and AIDS as well as those with other illnesses, such as breast cancer. Second, you get to watch the actors you've just seen playing characters break the fourth wall and address the audience as their real selves.

Last night, at the end of Equus, it was especially exciting. Daniel Radcliffe auctioned off a sweaty polo shirt that he wore onstage in New York and London. He autographed the shirt and even wiped his face with it, so the lucky recipient, who paid $550, is assured of getting some of Harry Potter's DNA. How thrilling!

I'll have much more to write about Equus later but let me just say that Mr. Radcliffe gave a mesmerizing performance as a troubled teenager who blinds horses. And at the risk of sounding completely shallow, he has quite a cute little tush!

A lot of people find my blog by searching for Daniel Radcliffe, stage door and autograph, so here's the scoop:

I did manage to get his autograph and Richard Griffiths' at the stage door afterward. It was a pretty hairy experience. The stage door at the Broadhurst is on the front side of the theater. Just make a right turn as you exit. But you can't miss it - you'll see the security guards and the metal barricades.

The security people won't even let you near the metal barricades unless you show them a ticket for that night's performance. And you'll be wedged in like sardines with your fellow theatergoers. It was a bit of a madhouse, with the guards constantly telling us to move back and to not push. But it was kind of hard to avoid pushing when you tried to move back!

I was just behind the front of the barricade and I kind of scoped out the situation while we were waiting, trying to find an opening in the crowd where I could thrust my Playbill at Radcliffe. (He comes out fairly quickly, within 20 minutes. You'll have to wait longer for Griffiths but by then, the crowd will be gone.)

When he got to me, he seemed to take a looong time to sign his name. "Daniel" came out pretty good, but the signature starts to trail off by the end of "Radcliffe." He needs to work on a quick, illegible signature! Update Dec. 1: Okay, now I feel awful. I just heard Radcliffe say on Inside the Actors Studio that he suffers from a mild form of dyspraxia, which can affect fine-motor control, such as handwriting. So I apologize for joking about your signature.

Radcliffe will work both sides of the barricades. My advice is to position yourself on the side next to the giant Shrek poster. That way, when his driver pulls up and the car door opens, you'll be in good position to try and take a picture before he jumps inside.

Daniel Radcliffe talks theatre

I loved the Harry Potter books but I've never been all that crazy about the movies. It's nothing personal, they're not bad movies. I just get more out of the books - they're richer, more detailed. And I'm not a huge Daniel Radcliffe fan. I feel bad saying this, because he was just a kid the first time I saw him on screen, but his performance always seemed a bit bland.

But I saw an interview with Radcliffe on Theater Talk and I was so impressed with what he had to say as he discussed preparing for his role in Equus, first in London and now on Broadway. At the tender age of 19, he just struck me as a very thoughtful young man who obviously takes his craft seriously.

And I loved what he said when Michael Riedel of the New York Post asked him what he'd learned from his Equus costar Richard Griffiths. Radcliffe responded that the main thing he'd learned was the importance of keeping his performance fresh.

"Someone asked me, How do you make it fresh every night? Well, I said, you just remember that people are paying exorbitant amounts of money to come and see you and it has to be the first time you've done it for them. If I change a line reading or whatever on stage, Richard is quick enough and listens so brilliantly that he will just go with it and be able to use it to make the scene fresh. So that's the main thing I've learned, just about keeping the play as sort of a living thing, not just rest on your laurels."

Radcliffe was 12 when Harry Potter and the Sorcerer's Stone came out in 2001. While the interview has made me even more excited about seeing his Broadway debut, part of me thinks it'll feel a little weird to see him in an adult role. Even though I've watched him grow up over the course of the Harry Potter films, I still have that mental picture of him as a little boy.

Daniel Radcliffe and the stage door

I've gotten e-mails from a couple of readers who are making their first trip to Broadway just to see Daniel Radcliffe in Equus. More than a few people have stumbled upon my blog by searching for his name and "stage door." So I know there's a lot of interest in whether he'll sign autographs. After digging around on the Broadway World message boards, here's a little update.

Several theatergoers have reported that Radcliffe is making an appearance at the Broadhurst Theatre stage door, signing Playbills and even an occasional Harry Potter dvd case. As always, past performance is no guarantee of future results. But if he's signing autographs now, there's a good chance he'll do it through the entire run of the play.

A Broadway World post from Without A Trace has a pretty detailed description of what it was like at the Equus stage door, and it's quite a mob scene, with hundreds of people screaming and pushing.

"Daniel Radcliffe was the last one out and he signed for A LOT of people. He first went around to the right side of the barricades and signed for most of the people in the front (he even signed someone's Harry Potter DVD cover). Then he came around to the left side of the barricades. Everyone around him was telling him how much they loved him in Harry Potter, etc etc.

"When he got to my spot in the barricades, I told him that his performance in this show was brilliant and that it is wonderful to see him in a role that most people wouldn't think to see him in...and he pulls it off so well.

"He then asked me if I had seen the show that evening, and I said no, that I had seen the first preview on Friday night. He responded with "Oh, that was a good night to be here!" Then I told him that I was telling all my friends to go see the show, and he said "We're not completely sold out, keep telling people to come!" Then I thanked him again and he seemed very gracious and pleased with my comments about his performance. Then, he went onto the next person, who mentioned Harry Potter again..."

Apparently, this person went to the stage door on a night when he or she wasn't seeing Equus, to stake out a good spot. That might not be possible if you're coming from out of town. So you should probably head out of the theatre as quickly as possible - even if it means giving up a pit stop. There'll be time for that later - after you get your autograph.

Stopping at the stage door is a great and time-honored part of going to a Broadway show. I've had wonderful experiences and disappointing ones so whatever happens, I can sympathize.

My advice is, stand your ground, don't be bashful about reaching out with your Playbill, remain calm and above all, just enjoy being part of the whole crazy scene. (Although they're not all as crazy as this one will be). Here's a video that will give you some idea of what you can expect.

Ok, if Equus is your first Broadway experience - have fun and break a leg! Hopefully you'll see a great show and take home a great souvenir. And of course, you'll want to return.

My Broadway debut - one year later

Tonight marks the first anniversary of my first Broadway play - A Moon for the Misbegotten, and tomorrow, my first Broadway musical, Curtains. One year ago this evening, at the tender age of 47, I stepped inside a Broadway theater for the very first time in my life and was immediately hooked. It's never too late to make your debut on the Great White Way, is it?

While it was a chance to see Kevin Spacey's performance in Moon that lured me to New York initially, I've been back three times since April 2007, and I've seen a total of 21 different shows (Moon twice). And while I have my favorites, I can honestly say that I've enjoyed at least a little something about each and every one of them. Going to the theatre in New York City is still a pretty big thrill for me. I'm very envious of people who live there and can go all the time. I just wish I had a chance to see more off-Broadway shows, too.

I've now been inside 18 of the 39 Broadway theatres. There are some I like - the cozy, intimate orchestra section of the Belasco, for example. There are others I'm not crazy about - I felt sooo far away sitting in the rear of the Hilton's orchestra. The narrow, rectangular-shaped lobby of the Richard Rodgers made me feel absolutely claustrophobic. I'm hoping to get to all of them eventually, and if it comes down to the final one, I'll swallow hard, bite the bullet and go see The Phantom of the Opera at the Majestic, because that show most likely isn't going anywhere in my lifetime.

This week, I got a comment on a post I wrote awhile ago about going to the stage door after a show to get my Playbill signed. The person who wrote has never been to a Broadway show, but is planning to go see Equus with Daniel Radcliffe, and wanted some advice. Imagine, someone asking me for advice. Can you believe it?

So, to mark the first anniversary of my first Broadway show, and in a shameless attempt to pump up the hits to my blog, (weekends can be slow, you know) here are some words of wisdom to another novice theatergoer.

Before I start, just in case there's one person left on the planet who doesn't realize it, Equus is not a play for young children. It's about a psychiatrist treating a young man who has an unhealthy fascination with horses. Nudity and adult themes are most definitely involved. You'll be seeing a side of Daniel Radcliffe you've never seen in the Harry Potter movies. (I'm not talking just about his acting.)

So forewarned is forewarned. Now, you want to get outside as quickly as possible after the show ends to claim a good spot. (My advice is to make a quick trip to the bathroom, because you might be there for awhile). I'm not sure where the stage door is at the Broadhurst Theatre, but you can ask an usher. With Radcliffe's fame, there'll be metal barricades set up, and a mob scene. You won't have any trouble finding it!

We don't know yet what color the Playbill will be, but I would recommend two different-color Sharpies (available at most drugstores), one black and one a lighter color, like red or silver. You can also check back at the Playbill Web site after the show opens to see what the cover looks like, so you'll have a better idea of which color will show up best.

Now this is important. If you're there alone, make friends with someone standing next to you, so you can trade cameras and hopefully each get a picture of yourself with Daniel Radcliffe. With the number of people, it'll probably be close to impossible. My guess is he'll be quickly signing his name and moving on. But you should be prepared just in case the opportunity arises. (And I wouldn't bother lugging your 800-page Harry Potter book to the theatre, chances are he'll only sign Playbills).

In my experience, the star of the show usually comes out last. Perhaps it's done for dramatic effect, or because he or she has so many important visitors backstage. I don't know. So you could be waiting a half hour or more. (You'll have plenty of company). But don't despair and don't leave until it's obvious that he's not coming out. There'll most likely be security people around to let you know if he's not going to make an appearance.

While there are no guarantees that he'll come out the stage door and sign autographs, I have a feeling Daniel Radcliffe will be pretty accommodating. Once you get your signature, etiquette dictates that you move to the back and give someone else a chance. Be persistent, hold your ground and don't be shy. I hope you have as wonderful and memorable an experience as I did, one that turns you into a lifelong theatre fan. Now go out there and break a leg.