The Norman Conquests on television

Nothing brings home the power of theatre like seeing the same play on stage and on television.

Since I loved The Norman Conquests on Broadway I figured I could re-live the experience by watching another version of Alan Ayckbourn's trilogy on the small screen with a different cast. Wrong!

I'm in the middle of the 1978 British television production. (I got the VHS tapes from the library - used copies start at $195 on Amazon.)

Wow, what a difference! These three plays that cover one weekend at a house in the country were so much better live.

Part of it is the quality. The picture on the tapes isn't exactly the sharpest. Plus, I'm watching them at home, so it's easier to get distracted.

And the six-person cast of the Broadway revival was so perfect. I really don't think anyone in this production can compare.

As Norman, Tom Conti is more low-key and annoying, whereas on stage, Stephen Mangan was endearing and a bit manic. I've liked Conti in other roles but as Norman, Mangan gave one of the best performances I've ever seen.

I realize there's a big difference between film/tv and stage acting and you can't really compare them. But there's something thrilling about having the actors right there in front of you.

And on Broadway, director Matthew Warchus ramped things up. The dialogue seemed sharper, the action more hilarious. Whereas on television, it's kind of bland and slow and not all that funny or vibrant.

Most importantly, theatre is a communal activity.

Watching the plays on television makes me realize how much my enjoyment comes from simply being in a room with hundreds of other people, joining in their gasps and laughter and exhilaration.

Drawing the curtain on my theatre season

Barring some miracle, my 2008-2009 New York City theatergoing season is complete. It was a great year as always - I saw so many terrific performances and the plays especially were great - so much absorbing and inventive storytelling.

Now it's time for some end-of-the-season thoughts.

1.) Be flexible. In January, the plays that make up Alan Ayckbourn's trilogy The Norman Conquests weren't even on the list of shows I planned to see, yet they turned out to be one of the best theatre experiences I've ever had. I've never laughed so hard, so consistently. While each of the six actors created a memorable character, in my opinion Stephen Mangan as Norman gave a performance for the ages.

2.) Go off-Broadway more. Every season it seems like there are a few Broadway shows I could have missed and a few off-Broadway I wish I'd seen. Two of the best plays I saw were Black Watch at St. Ann's Warehouse in Brooklyn, and Our Town at the Barrow Street Theatre in Greenwich Village. And I'm kicking myself that I probably won't make to Ruined.

3.) Luck was with me. Broadway actors are a pretty dedicated bunch but I know sometimes people get sick, go on vacation, etc. West Side Story was apparently hit with a rash of understudies earlier this summer. So I'd like to mention that practically every performer I wanted to see when I bought my ticket was in the show the day I saw it - even some who left soon afterward.

4.) The list grows shorter. I crossed seven more theatres off my list this season, including the adorable 597-seat Helen Hayes, which is so tiny I wish I could have packed it up, put it in my suitcase and taken it home with me! I've now been in 29 of the 40 Broadway theatres - not bad when you consider that in April 2007, I hadn't been to a single one. By the end of the year, I could be down to the single digits.

5.) I saw the light. I exited the Palace after seeing West Side Story and then realized the stage door was on the other side of the building, so I walked back through the theatre. To my surprise, the ghost light had already been put out on stage. I was thrilled! I'd read about that particular theatrical tradition but never seen one. A little thing, but it was cool.

6.) TKTS prices. I used the reduced-price ticket booth in Times Square twice this year but it's not always a great bargain. At about 20 minutes before curtain time on a recent Sunday, TKTS wanted $91 for a partial-view seat at Hair. I couldn't believe it. Sorry, but as much as I wanted to see Hair a second time, that's way too much money for not being able to see the entire stage.

7.) Where's the VIP? My ticket for Our Town cost $49.50, before fees. If I'd wanted to splurge, I could have spent double that amount - and I would have been upset once I saw the size of the theatre. Barrow Street, really, how in good conscience can you charge $95 for "VIP premium" seats in a theatre that's smaller than some living rooms? And where are the premium seats anyway - in David Cromer's lap?

8.) Color me disappointed. I don't buy a lot of souvenirs when I go to New York, but I do keep all of my Playbills. Now I realize when I see shows that have been open for awhile, I'm not going to get one with a nice color cover. But if you're switching to black and white, at least make it decent. I was shocked at how washed-out my black and white 9 to 5 Playbill looked.

The Norman Conquests

Gratuitous Violins rating: **** out of ****

I never intended to see even one part of British playwright Alan Ayckbourn's trilogy The Norman Conquests when it transferred to Broadway from London's Old Vic Theatre.

The plot didn't particularly interest me and the thought of seeing three plays in one day was daunting. (Never mind standing in line at the ladies room for three bathroom breaks.)

But then the reviews started coming in - from my fellow bloggers and other theatergoers I respect. They were so enthusiastic, beginning with Broadway & Me, that I thought well, it'll be an experience - my first theatre marathon. I'd be at Circle in the Square from 11:30 a.m. to 10:30 p.m., with breaks for lunch and dinner.

(Plus, I got to share the experience with my blogging buddy Chris, of Everything I Know I Learned from Musicals. We had a fun lunch at Vynl. Then, dinner at Pigalle with Steve On Broadway, the love of his life and some very tasty grilled yellowfin tuna. A win, win, win.)

The plays - Table Manners, Living Together and Round and Round the Garden - were written and take place in 1973. They are set at different times on the same weekend in different parts of the same house. The same six characters are in all three and I knew within the first hour that I'd love spending time with them.

I definitely related to the frazzled Annie, played by Jessica Hynes, who cares for her needy but unseen mother and desperately needs a break. Ben Miles plays Tom, Annie's possible suitor, a taciturn veterinarian who seems ill at ease around people and animals.

Annie's brother Reg is played by Paul Ritter in a self-centered way that reminded me a bit of the character Ricky Gervais portrays in the British version of The Office. Reg and his wife Sarah, a prim and somewhat bossy Amanda Root, come for the weekend so that Annie can get away.

Also on hand is Annie and Reg's sister Ruth, played by Amelia Bullmore, whose nearsightedness causes many comic moments. She's just about at the end of her rope when it comes to her lothario of a husband Norman, an assistant librarian played brilliantly by Stephen Mangan.

While the entire cast is superb, Mangan was my favorite. Bearded, unkempt, with a wild head of hair, he is such a physical, expressive actor. And he delivers a performance that I will never forget.

From the way the other characters talk about him, I was prepared to despise Norman. But Mangan makes him sympathetic and charming, totally honest, lacking in guile and quite sensitive - even if he is an unscrupulous cad at times. I could never hate Norman - only love him.

I'm a fairly easy theatergoer to satisfy - just don't bore me. It's a tribute to the wonderful ensemble - and director Matthew Warchus - that even after seven hours, I never got tired of watching these six distinct, vivid personalities interact.

There was always something unexpected, some wound to be reopened, some revelation, some argument to break out - often with hilarious consequences, some new person for Norman to seduce. The plot that I didn't think would interest me, well, I ended up being totally absorbed. It was so much fun to sit there all day and watch this story unfold.

The plays are witty and hilarious with a lot of physical humor. I can't remember the last time I laughed so hard, so often, sometimes to the point of tears. But Ayckbourn also gives us some very serious moments when you truly get a sense of these characters' anxieties.

The Norman Conquests turned out to be one of the best and most unique theatergoing experiences I've had. I'm so glad I didn't miss it. Because it was in the round and because I spent so much time with them, I feel like I got to know these characters so well.

But I'm afraid that the popularity of the "trilogy days" may have led people to believe that if you can't see all three, it's not worth seeing any of them. And that's absolutely not true.

If you can only see one, I recommend Table Manners, which I think stands best on its own. Unfortunately, The Norman Conquests, which won the Tony award for Best Revival of a Play, closes on July 26. So you haven't got much more time.