A conversation with mother, Matthew Lombardo’s new Broadway drama published on Theater 555ND Street is an interesting, often touching two combative relationships between a troubled gay man and his actively hated but deeply dedicated mother, spanning fifty years. It’s sweet, noisy and disturbing, and it’s hardly original since Harvey Fierstein first got there. The colors are cute but not uniform. The surgical word is uneven.
No matter how much you take root for mother and son, Bitchy Punchlines inevitably reminiscent of lifelong verbal conflicts in the war against which Mr. Fierstein and Anne Bancroft compete in his memorable film. Torch Song trilogy. This time, the central figures are not in New York Jews, but Italian Catholics in Connecticut, and their front-line strategies seem to be what they learn from the movie. The son is Bobby Collavechio, played by Matt Doyle, the handsome, award-winning music of Stephen Sondheim’s recent Broadway revival star company, He is filled with a barrel of charm and talent, his annoying, suffering mother Maria exudes the sneaky Caroline Aaron, who in the series “The Wonderful Lady Maisel” Attracted TV viewers for five seasons. As co-stars, they collaborate with clear, unwavering charm like bookshelf, although it has to be faced with the best work of the most balanced character evolution. They lived in 90 minutes for nearly 60 years without an intermission, they covered a lot of ground and did a great job, but the mother got the best lines and chewed them like a steak t.
Maria has known her son’s homosexuality since her youth, and Maria has reluctantly accepted this without brief eyes and well-placed rebuttals, which is what I find limited. This is awful, because the author Matthew Lombardo is a great writer. I like his play High, Kathleen Turner is a short Broadway car, a modern nun in jeans cycle. These dramas are not the key and commercial hits they should have, I worry about the humor on the surface Conversation with mother You may encounter the same fate. But that doesn’t mean it’s not worth a look. When Bobby fled to New York to become a writer and found a job at a gay bar called “Meat Hook”, Maria thought it was a deli. “That guy who is involved in M and M?” she asked. “That’s S and M, mom.”
The passage of time covers tricky chapters in the lives of both characters who carefully dabbled in Bobby’s abusive love affair with the catastrophic thugs who beat him up at the Betty Ford Center, taking drugs And rehabilitation, including a childhood monologue, 11 scenes and one scene, and one his mother visits Bobby at 65 but still grey-haired knockouts, unnecessarily concludes the drama down to embarrassment The emotion of his mother, who visited his mother, returned from death to destroy the lasting happiness and peace of mind he found, proclaiming the date of his own imminent demise. But even here, she shows surprising feelings under her tough facade. All of this can make the audience happy at a moment when they avoid darkness and focus on reducing their mood. “If you try to figure out who you don’t know think Mom said in a rare introspective suggestion: “You may be your true identity.” yes. ” Before the audience had time to wipe away tears, Bobby didn’t miss any rhythm, retorting: “It’s very deep for women who still have thick carpets.”
Despite myself, I still smiled, always hoping that the feeling of deeper has never come true. Sometimes, writing is very close. The play has ups and downs, but Lombardo is not much to his mother, himself, and even his own writing. (The script is a public semi-autobiography). Maria talked critically about the point she wanted Bobby to make for him in the eulogy she wrote at the funeral, and Maria said, “I am your good mother.” “Naah,” she “You are the best.” “Look,” she slammed, “this is such a remark that makes the critic not like you.” Maria has five other children she has never seen before , creates a gap in the narrative, causing the audience to change briefly. There is no serious inner pursuit of three-dimensional character revelation. Still, the two veteran actors reinforce the perfect timing to save the day with Noah Himmelstein’s shrewd direction. Caroline Aaron shows a fascinating ability to balance domineering maternity as a career choice, while the patriarch’s hidden inner confusion, he loves too much and shows too little. Matt Doyle makes you care about the kind of person who thinks he knows everything about his mother and may indeed know more than he should, but never knows.
I like Conversation with mother Despite the flaws, as I said before, the surgical word is unbalanced.
Conversation with mother | 1 hour 15 minutes. No intermission. | 555 Theater | 555 West 42st Street | (646) 410-2277 | Buy tickets here
