March 27, 2009

Critics worship Rush in 'Exit the King' on Broadway

The critics today are giving the royal treatment to Geoffrey Rush for his Broadway debut in Eugène Ionesco’s absurdist play “Exit the King,” which also features Susan Sarandon, Lauren Ambrose and Andrea Martin.

There’s near unanimous praise for the production, though a few of the critics are not amused by the updated adaption penned by Rush and Neil Armfield, who also directs.

“Exit the “King” is scheduled to play through June 14 at the Ethel Barrymore Theater, 243 West 47th St., map. Regular tickets are priced from $66.50 to $111.50. Premium tickets are $176.50 and $251.50 Student rush tickets are $26.50.

The “Exit the King” reviews:
Variety - “It’s that state of pervasive uncertainty, in a world thrown into chaos as an empire crumbles, that rescues Eugene Ionesco’s 1962 absurdist tragedy from the dusty vaults and infuses it with unexpected currency. But the play’s relevance is secondary to the virtuoso work of its lead actor, who unleashes a dazzling arsenal of mime, clowning and physical techniques to swerve in an instant between comedy and pathos, keeping the audience riveted to him through every hairpin turn.”

New York Times - “Watching him is like staring at one of Goya’s more savage caricatures. At first you’re amused, fascinated and repelled. But the longer you look, the more human the image becomes until finally, you realize with a shudder, it has turned into a mirror.”

Post - “You may see the pajama-clad king’s delusions as a represention of our own inability to face mortality, or it could be an allegory for the crumbling of the American Empire. The malleability of Ionesco’s text allows for as many interpretations as there are viewers, and this openness feels exhilarating.”

Newsday - “The Australian actor, who earned his Oscar as the troubled pianist in “Shine” and a retirement account from the “Pirates of the Caribbean” trilogy, is smashing as the 400-year-old king who is told that he’s going to die. Not someday. As Queen Marguerite, his no-nonsense - if just a teensy bit vengeful - first wife calmly informs him: “You are going to die in an hour and a half. You are going to die at the end of the play.”“

Wall Street Journal - “Only two weak links mar this sterling revival. The first one, I’m sorry to say, is Ms. Sarandon, whose acting is flat and uninteresting. The second is the translation, a new English-language version by Messrs. Armfield and Rush that has been modernized, vulgarized and generally tarted up.”

amNewYork - “Geoffrey Rush’s performance as the crazed, ridiculous king cannot be missed by anyone who appreciates great stage acting. What’s most incredible is how his performance carefully evolves throughout the play. At first, he is extremely flamboyant and showy, covering the stage with his long purple robe. But he soon sinks into crisis mode and starts really freaking out.”

Daily News - “He isn’t the only ace on stage. Andrea Martin is that rare comedienne who can make you smile simply with a gesture. Whenever she appears as Juliette, the court housekeeper, the stage is dusted with laughter.”

USA Today - “Since Exit is an ensemble piece, the other characters are equally crucial, and Armfield culls excellent work from all. Lauren Ambrose makes a wonderfully warped ingénue as the hyper-emotional Marie, who represents Berenger’s need for sensual gratification, while Andrea Martin brings her own sure-footed wackiness to the nurse/servant Juliette.”

Hollywood Reporter - “Oscar-winning actor Geoffrey Rush has more than 70 theater productions in his native Australia to his credit, but never before has he appeared on a New York stage. Thankfully, that situation has been rectified with his magnificent starring turn in this revival of “Exit the King,” which also is welcome for being a rare Broadway production of a Eugene Ionesco play.”

Bloomberg - “Admittedly, such clowning would not have pleased Ionesco. Yes, this is an absurdist play, but the absurdity is in the situations and the dialogue. Except for one or two brief scenes, the author wanted straight playing, letting the bizarre shine through. This staging by Neil Armfield, who with Rush adapted the play from a literal translation, is like hearing a joke meant to be delivered deadpan, instead presented by a giggling comic.”

Associated Press - “We haven’t seen a star turn like this in quite a while. Geoffrey Rush, making his Broadway debut, manages a mesmerizing high-wire act of balancing outrageous comedy and overwhelming tragedy in a fascinating revival of Eugene Ionesco’s absurdist “Exit the King.”“

NY1 - “Some people will no doubt find “Exit The King” frustrating and too long. I found this fine production both funny and moving, much like life itself.”

March 27, 2009 11:22 AM in Broadway

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