Steppenwolf Theatre's revival of the late Lanford Wilson's 1970s hit
The Hot L Baltimore is currently happening through the end of May, with direction by Tina Landau and a cast of many fine actors. The set is also impressively rundown and offers a two-story action view, featuring stairs leading to rooms without doors to allow for a kind of voyeuristic, back of a dollhouse effect. If you can sit close to the stage and you're fascinated by authentic props, you'll enjoy noting how magazines leafed through are truly from the 1970s, and that the TV set shows Pringles commercials of the era -- and that some super-groovy ribbed blue bellbottoms are worn by Bill, the desk clerk. And if you lived through the seventies or have a more youthful retro interest in them, the timeline boards of the decade's major events and hit songs set up in the theater lobby will likely round out your nostalgic experience.
Back in the real day,
The Hot L Baltimore debuted in March of 1973 and ran through 1976 at New York's Circle in the Square. It showcased the then-new talents of forever tough cookie Conchata Ferrell (who so refreshingly dominates Charlie Sheen on
Two and a Half Men), and Judd Hirsch as Paul, a young man in search of his elusive grandfather. At that time, the play surely had a very different vibe, because it was an immediate representation of 1970s upheaval and change, and America wasn't so familiar with the lives of sassy hookers and/or needed to come to terms with the fact that many of its former glories were crumbling and in the line of the wrecking ball.
So essentially, The Hot L's revival now is pretty much evocative and not a social slice of life, with a note of melancholy added due to the recent death of playwright Lanford Wilson. The play is further deepened by many primary roles being filled by African American actors in this production, including standout performances by de'Adre Aziza, Alana Arenas, Namir Smallwood, Jon Michael Hill, James Vincent Meredith, TaRon Patton and Jacqueline Williams.
Still, if the play is truly supposed to take place in the early 1970s, changing the racial makeup of the cast would have--at the time--caused all sorts of alternate issues and dynamics. Yes, Baltimore has a larger black population than other cities, but perhaps the elderly Mr. Morse might harbor some old school inherent prejudices, or perhaps the fact that Bill the desk clerk is attracted to The Girl might create a greater interracial
frisson of conflict -- and the idea of a brash young black woman and her timid brother planning to farm acres in predominately white 1970s Utah seems even more worrisome. Mrs. Oxenham is into making a traditional African fashion statement -- what consciousness-raising led her to that? And why does Mr. Katz dislike Jackie so much? Is it hard knocks disapproval or just, as she complains, because of the way
she dresses?
I have to wonder whether being in the front row made me connect more with some of the characters and have more questions about them. Probably too many questions, because in the long run it seems best to just take
The Hot L Baltimore as a retro piece -- to enjoy the team effort, the set, the props and the onstage radio crackling out soul tunes, and don't really think that much about the rest.
It wouldn’t seem likely that the names Gustav Klimt and Barbie would ever be used in the same sentence – but then again, why not? In the Barbie® Museum Collection due out this summer, distinctly designed Barbies wear outfits fashioned after such classic paintings as Van Gogh’s The Starry Night, Da Vinci’s La Gioconda and Klimt’s Portrait of Adele Bloch-Bauer I. Starry Night Barbie is strapless and swinging, Mona Lisa Barbie is more demure and subtly elegant, and the Klimt Barbie is quite the stunner in her resplendently detailed and shimmering wrap, choker and long gown.
