Kevin Spacey, now a Commander of the British Empire

Congratulations to Kevin Spacey, artistic director of London's Old Vic Theatre, who was presented an honorary Commander of the British Empire today by Prince Charles for his services to drama.

"He (The Prince) was just extraordinarily generous about the work we've done at the Old Vic over these past seven seasons that I've dedicated myself to the revival of this brilliant, wonderful theatre and for all the belief that I have that arts and culture are a hugely important part of our lives."

Kevin's had his share of criticism in the beginning of his tenure and not all of the plays he's chosen have been successful. But things have begun to turn around. The theatre has won praise for its education and outreach programs and for fostering new talent.

I have to admire him for taking on the financial challenge of running a commercial theatre, opening it up to young, diverse audiences and for taking risks with productions like the revival of The Norman Conquests.

He told Britain's The Stage in 2006, "I’m here trying to build something that is bigger than me and I want to have last long, long, long after I’m gone.”

Of course I have a personal connection, too. I will be forever grateful to Kevin for a gracious note he sent me in response to a fan letter I wrote. The chance to see him on stage in A Moon for the Misbegotten was the impetus behind my first trip to Broadway.

Hopefully I'll get to see him again when he returns to New York in 2012, to play the title role in Richard III at the Brooklyn Academy of Music. He's one of the few actors for whom I would gladly lift my Shakespeare moratorium.

Happy Birthday Kevin Spacey!

Today is a very special day at Gratuitous Violins headquarters. Fifty years ago on this day, in South Orange, N.J., a baby boy was born named Kevin Matthew Fowler.

Within a few years he moved with his family to Southern California, where he grew up and where a guidance counselor would one day suggest that he direct some of his boundless energy toward the drama club.

On a school trip to the Mark Taper Forum in Los Angeles to see Juno and the Paycock, he met his idol, Jack Lemmon, who told him that if he wanted to be an actor, he should go to New York to study.

Eventually, he made his way there, spending two years at Juilliard, appearing in Shakespeare in the Park and working at the Public Theater until Joseph Papp saw him in an off-off-Broadway play and recognized his talent. He promptly fired him and told him to go be an actor.

Shortly thereafter, in August 1982, he made his Broadway debut at the Brooks Atkinson Theatre in a revival of Ibsen's Ghosts, playing Liv Ullmann's son. And he picked up a new name - Kevin Spacey.

He would go on to win the Tony for Best Featured Actor in a Play for portraying Uncle Louie in Lost in Yonkers and two Oscars, for roles as a small-time con man in The Usual Suspects and a suburban father in the midst of a midlife crisis in American Beauty.

But the Kevin Spacey role that had the biggest impact on me was his portrayal of singer Bobby Darin in the biopic Beyond the Sea. As I've written before, I fell in love with the movie and with Kevin's singing and did something I don't normally do - I sent him a fan letter in care of The Old Vic Theatre, where he's been artistic director since 2004.

And he was gracious enough to send me a reply from London:

I can't tell you how thrilled I was to get that note in November 2005. It truly lifted my spirits at a difficult time.

The more I read about Kevin and his work at The Old Vic, the more of a theatre fan I became. My determination to see him on Broadway in A Moon for the Misbegotten set me on a path I could never have imagined.

Without Kevin Spacey I wouldn't have my trips to Broadway, my blog and most of all, so many new and dear friends in my life to treasure. Kevin, I hope your friends make this day as wonderful and unforgettable as my friends made my birthday in May.

Playbill has a great birthday interview with Kevin, where he talks about his films and stage career. I love this quote: "In my opinion, the best actors in films are the ones who came out of theatre. You cannot go wrong by learning your craft as a theatre artist."

Coincidentally, today also marks the final Broadway performance of The Norman Conquests, winner of the Tony for Best Revival of a Play and a transfer from The Old Vic. I was lucky enough to see the trilogy a week ago and it was an incredible experience.

Here are Kevin and cast member Jessica Hynes talking about the production:

In the Playbill for The Norman Conquests, Kevin writes about The Old Vic's education and outreach efforts designed to bring theatre to a wider audience and nurture young talent. It's an effort he's expanded to New York.

As he notes, "Theatre needs dedicated champions in order to flourish and grow." Well, Kevin Spacey has certainly been a dedicated champion. And for this talented actor, a man whose gesture of kindness meant so much to me, I hope that I can be one, too.

So happy birthday, Kevin - and come back to Broadway soon!

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.

Welcome, Kevin Spacey

Breaking news via Twitter: Kevin Spacey has wrapped up work in Toronto on the movie Casino Jack and is on his way to Rhode Island - or maybe he's even here already!

When I met Kevin at the stage door after A Moon for the Misbegotten and told him he'd gotten me to come to my very first Broadway show he replied, "Well, welcome." I'm happy to extend a welcome in return to an actor who is talented, dedicated and so gracious to his fans.

Tomorrow night, the Oscar winner, Tony winner and artistic director of London's Old Vic Theatre will receive the 2009 Pell Award for Distinguished Achievement in the Arts.

The gala event will be held at Pelican Ledge, in Newport, home of the late Rhode Island Sen. Claiborne Pell, and hosted by his widow, Nuala.

Pell sponsored the landmark legislation that established the National Endowments for the Arts and the National Endowment for the Humanities in 1965, and chaired the Senate Education and Arts subcommittee.

Proceeds from the event benefit Providence's Trinity Repertory Company.

And Trinity Rep's artistic director, Curt Columbus, says Kevin "is a natural choice to receive this award because of his commitment to the live theater, the medium of film, and good works around the globe."

Kevin has been a great champion of the performing arts, especially theatre. He's done so much to encourage young people to get involved, both as participants and audience members, through the Old Vic New Voices program and his production company, Trigger Street.

According to the invitation on Trinity Rep's Web site, dress is casual elegance - a description that fits Mr. Spacey to a T.

Following Kevin Spacey's every tweet

Kevin Spacey was in Boston and I missed him. Darn it! If only I'd known that he was Twittering, or Tweeting, on Twitter. I could have followed his Twits, or his Tweets. (In a respectful, non-stalkerish way, of course.)

At first I wasn't sure whether it was the real Kevin Spacey or the fake Kevin Spacey, because I know that does happen.

Apparently, some celebrities use ghostwriters for their 140-character messages. There's a great comment from NBA star Shaquille O'Neal, who does his own Twittering. He told The New York Times: "It’s so few characters. If you need a ghostwriter for that, I feel sorry for you.”

I think it really is Kevin, or at least someone who works for him. There are lots of Tweets about the Broadway revival of Alan Ayckbourn's trilogy The Norman Conquests, which began previews this week at Circle in the Square. It's a transfer from The Old Vic Theatre in London, where Kevin is the artistic director.

He also mentions that he saw Two Men of Florence at the Huntington Theatre Company in Boston. He really was there. I have proof! I found a photo on the Huntington's blog. Nice to know that he's getting out and seeing some shows.

(That's Kevin, looking dashing in his leather jacket and cap, with the cast, playwright Richard Goodwin and Goodwin's wife, historian Doris Kearns Goodwin.)

It was kind of hard to follow the messages at first, because I guess other people - "followers" - can leave comments on your Twitter stream. But eventually I figured out which ones were from Kevin:

"Old Vic production of trilogy NORMAN CONQUESTS starts perf at Circle in Square on 50th in NYC. Wonderful, dir by Matt Warchus. Go. Go. Go!"

"Saw Two Men of Florence by R Goodwin in Boston at Huntington. Great. Go only 3 more perf. Ed Hall directs fabulous."

"Got up on stage last night at The Box sang 'Just a Gigolo' for Philip Green and wife who opened TopShop/NYC. Simon Cowell asked for encore!"

"I can assure everyone who is wondering if this is really me that it is. No ghosts here. Put up photos to prove. Lets just believe. Okay?"

Okay, I believe!

Kevin Spacey on picking the best seats

Apparently, people are always asking artistic director Kevin Spacey for advice on the best seats at The Old Vic Theatre. He doesn't really give an answer but he does look great in this ad for American Airlines.

Never Mind - The Musical

Okay, there isn't really a musical called Never Mind although maybe there should be - a compilation of all of those tuners that were announced but never got off the ground. Or if they did, it was with a cast far different from what we imagined.

For example, now I find out that Kevin Spacey isn't going to take part in a London workshop of A Star is Born that I wrote about last week.

The story in Britain's Daily Mail has dueling versions of what happened. A representative says Spacey never was involved. But the director, Jonathan Butterell, insists that he had been engaged to play the part of washed-up actor Norman Maine.

Instead of a reading at the Old Vic Theatre in the spring, there'll be one in New York City, with a different leading man. Warner Bros. is continuing to develop the show for Broadway but the Daily Mail says don't expect anything anytime soon.

This whole episode brings up another point. It's kind of tough to keep track of all of these proposed new musicals - who's in, who's out, what's still on, what's off. At least once a week someone announces that they're working on a musical version of something.

Sometimes we hear back, like a report this week by the New York Post's Michael Riedel about the good buzz emanating from an invitation-only reading of The Addams Family. Other times, there's the announcement and then - nothing. What's going on with Get Shorty and is Hugh Jackman really practicing his magic tricks for Houdini? I'd like to know, please.

A new star is born

I get home from work a few hours ago after a long day and I'm doing my usual check of my favorite theatre-related sites and what do I see - some totally unexpected Kevin Spacey news at Broadway World!

According to Michael Riedel's column in today's New York Post, Kevin will play Norman Maine, a washed-up matinee idol, in a workshop next month in London of A Star Is Born. Riedel says Hugh Jackman passed on the role. If all goes well, the musical could open in the fall at the Old Vic Theatre, where Kevin is artistic director.

In doing a little Internet research, I found that my fellow blogger Chris, at Everything I Know I Learned from Musicals, wrote about the project in May, when Jackman was still attached to it. (Thanks, Chris. I can always count on you!) And luckily, Hugh is still attached to the Houdini musical.

I'm not that familiar with A Star is Born. I don't think I've ever seen the 1954 version, with Judy Garland and James Mason. I'm pretty sure I saw the 1976 remake, with Barbra Streisand and Kris Kristofferson, a long time ago.

I guess this role wouldn't involve any singing, which is disappointing. I first became a fan of Kevin's after seeing him in the Bobby Darin biopic Beyond the Sea. And in my pre-iPod days, I pretty much wore out a tape I made of the soundtrack. (Yeah, I only have a tape player in my car.)

Still, I can see Kevin in this part. And the best thing about A Star is Born: the young singer his character launches to stardom is named Esther! Hmmm, maybe it's time to get my passport renewed.

Speed-the-transfer

After last year's A Moon for the Misbegotten, it's possible I'll have another chance to see Kevin Spacey on Broadway.

Spacey, Jeff Goldbum and Laura Michelle Kelly are getting rave reviews in David Mamet's six-hander Speed-the-Plow at the Old Vic Theatre in London. Spacey and Goldblum play Hollywood producers and Kelly is Goldblum's secretary in this caustic, satirical look at the inner workings of the movie business.

Spacey, the Old Vic's artisitic director, wants to bring the production to Broadway. But the New York Post's Michael Riedel reports that Mamet has given the rights to producer Jeffrey Richards, who presented a revival of Mamet's Glengarry Glen Ross in 2005.

The British critics, who haven't always been kind to Spacey during his tenure at the Old Vic, seem to be giving this production pretty high marks. As a big fan of Mr. Spacey's, I'm extremely happy for him.

In The Times, Benedict Nightingale writes: "Imagine a game of ping-pong played with several balls, some filled with hand-grenades, and you’ve the way Spacey and Goldblum manage a swaggering, streetwise poetry that overlaps, breaks off, explodes. The speed is tremendous: less a run than an Olympic sprint over hurdles, with double-somersaults in between. It’s as expertly acrobatic as the Cirque du Soleil — and funnier than anything their clowns have recently concocted."

Two of my favorite London theater bloggers, the very witty and erudite West End Whingers, call Speed-the-Plow a hit for Spacey. "The dialogue is very witty (Mamet at his best) and when Goldblum and Spacey are on the stage together it’s often quite mesmerising (not a word you hear on these pages very often)."

One of the things that's always impressed me about Spacey is his absolute devotion to the theater. Here's his description of the difference between plays and movies: "Movies sometimes affect people. But the theatre is real and it’s tangible. The theatre is one of the most thrilling and memorable experiences that an audience can have."

According to Riedel, David Mamet is heading to London soon to see the show, which runs through April 26. Spacey is "close to Mamet and has plenty of critical ammunition with which to make his case. He can also point to his box office: Speed-the-Plow, a source reports, is the hottest ticket in London right now." I'm crossing my fingers that he succeeds.