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Posts tagged ‘drama desk’

CD of “Natasha, Pierre & the Great Comet…”A Masterpiece Recording of a Masterpiece Musical!

The soon-to-be-released 2-disc CD of the Original Broadway Cast of “Natasha, Pierre and the Great Comet of 1812” is a masterpiece of recording of a masterpiece musical. I’m sorry, I just can’t stop the superlatives when talking about “Natasha, Pierre..” or as some call it “The Great Comet.” But whatever you call it, I predict it’s going to land like a bomb in the middle of TONY awards season. It’s due out May 19 and it will be flying off the shelves, like, well, like the great comet that it memorializes forever in this dazzling pop-opera spectacle that I’ve seen FOUR times and I can’t wait to see again!

Natasha, Pierre 22And yes, the magnificent lyric baritone of the legendary Josh Groban pierces through the massive ensemble and breaks your heart, with a vocal range we have barely heard him use before, especially thrilling in the darker, almost guttural, lower tones. Groban is turning into a consummate actor-singer right before our very eyes, and he has been selling out Broadway with this fiery, very avant-garde opera that challenge him at every step he takes and every note he sings and he meets the challenges magnificently..

And yes, I could see him singing at the Met one of these years. His voice just grows in depth and resonance in this incredible recording, as his performance as Pierre Bezukov has grown, too, since I first saw it. “Poor, bewildered Pierre, a warm-hearted Russian of the old school” sings the full-throated chorus, masterfully orchestrated by composer Dave Malloy. He was nominated for TWO Tonys, for his score and his orchestrations of it.

Natasha, Pierre 20Groban has two stunning solo numbers “Dust and Ashes” which ends his Act One and the title song, which ends the show. He is also singing throughout the entire score, with that pure, moving voice that is sometimes here almost a rock rasp. “What? What? WHAT?” he wails as his cousin Maria Demitryevka (the frightening Grace McLean) tells him some very alarming news indeed regarding his unrequited love, beautiful, young Natasha.

His Pierre is angry, frustrated, and almost always reading or drunk. He is married to “a bad wife”, the slinky, sensual Amber Grey as Helene.

amber-grey

She continues with this sensational role of “the slut”, wailing like a blues singer, belting out “Charmante,” wearing green furs and sequins, and sounding for all the world like a Russian Billy Holliday. As she helps seduce innocent Natasha, a better-than-ever Denee Benton, for her dissolute brother Anatole.Denee Benton 1

He is played to the hilt and beyond by Lucas Steele, who has also been with the show through all the years of its’ many peregrinations as has Amber Grey, McLean and many others. He actually has a larger role than Groban!Josh and Lucas

“Natasha, Pierre…” has had a grueling five year journey From the tiny Ars Nova theater Off-Off Broadway to the festive circus tent in the meat-packing district, where I first saw it. where they served dinner! They also went to Boston to the ART theater there. All the while under the stupendously inventive guidance of  director Rachel Chavkin. who is herself nominated for a Tony, too.

“Natasha, Pierre…” has now been nominated for TWELVE Tony Awards and I hope it wins all of them. Groban, Benton and Steele have all been nominated in their categories, but only Lucas Steele of the actors has won an award for the evil Anatole so far. He scored a prestigious Lucille Lortel Award.Lucas Steele 1Lucas Steele Lucille Lortel Award 1

In his category, Best Featured Actor in a Musical, he’s up against Broadway veteran Gavin Creel, who is a riot in “Hello, Dolly!” Both shows are mega-hits, but Steele’s Anatole is so dastardly, and also so devilishly handsome and sexy AND he plays the violin, having a wild solo as he fiddles away, preparing his plans to abduct the underage Natasha. He’s married already, and it’s a crime that he’s about to perpetrate. Yes, even in 1812 Moscow, he would be considered a criminal. and yes, this is all out of a tiny sliver of the 1000+plus-paged novel “War and Peace” from which this epic is adapted by the uber-talented Malloy.

This sliver is so epic…you can only imagine what the rest of Tolstoy’s classic novel is like. Believe it or not, I read it in the 8th grade. The other kids in the Bronx Catholic boys school I was doomed to,  made fun of me carrying his huge tome around with me for a year.

“Are you really reading all that?”

Yes, I was and I did, and I’m so glad now that I can say that I felt every inch a genuine Russian after reading it and especially seeing “Natasha, Pierre” FOUR times! And now this extraordinarily beautiful, tuneful, masterfully recorded treasure of a CD is coming soon! May 19! Remember that date!

I saw “NPATGCOE,” as the Internet might abbreviate, this last time, seated RIGHT ON THE STAGE! Every time you see it sitting in a different place in the wildly re-devised Imperial theatre,  it’s like seeing a different play! When you’re sitting on the stage itself, you feel like you are IN the play! The stage actually vibrates with the bass notes of the synthesizer that sometimes Josh Groban himself is playing in the pit of the orchestra. Which is stage center and completely unhidden.Natasha, Pierre Marquis

In fact, from his first entrance in front of a blinding blaze of  white lights, he is playing the accordion himself, and he rarely if ever leaves the stage.  Bespectacled Pierre is Tolstoy’s alter-ego. He is one of the first, modern anti-heroes. He is thoroughly depressive, a big Russian,
beaten-up bear of a character. And yes, he’s the hero of “War and Peace.”  Groban to his everlasting credit has totally immersed himself to the point of unrecognizability in his heroic, vanity free performance. He is wearing a fat suit. He now lumbers and growls and shuffles his considerable weight as a middle-aged man would. His long, thin fingers shake with what may be delirium tremens as in a man who drinks Way too much. His young brow is now furrowed, without any make-up.

You can hear this bear of a character that he is so perfectly portraying growling through the CD like a wounded animal. But like the maestro he is, Pierre’s voice, his howl of pain, is always also modulated and very, very beautiful.  And moving.Natasha, Pierre Broadway SetYou must hurry and buy it. I predict it will be a best seller, the first Broadway recording and the best maybe ever. It could go platinum in five minutes. And go see Groban live and onstage before he leaves the show forever in July. He’s entitled. He’s been packing them in on Broadway, for nearly a year, revitalizing it and don’t even get me started on Mimi Lien’s transformative set and the wild, magnificent lighting of Bradley King! Both also nominated for Tonys. I hope they all win!

I also have to add that there seems to be a thousand-voiced choir, an epic number of voices that call themselves “The Great Comet Singers” who are pictured in the CD program and contribute to the amazing sound and rhythm of “Balaga” and “The Abduction.” They are also credited as “Shakers.” Because the audience was all given egg-shaped shakers to increase the beat of the delirious troika ride to end all troika rides in Act Two. Yes, “Natasha, Pierre and the Great Comet” of 1812 will abduct you, too. Your heart, I mean. You’ll never think of musicals the same way again.

Lucas Steele & Denee Benton 1
#Natasha, Pierre, # The Great Comet of 1812, #Natasha, Pierre and the Great Comet of 1812 # Josh Groban, #Lucas Steele, #Tony Awards, #Denee Benton, #Russia, #War and Peace

“Bandstand” Another Great New Musical Arrives on Bway!

Broadway is just bursting with musicals as the season is quickly drawing to a close and the Drama Desk nominations have been announced (See post before this one.) And a marvelous surprise was awaiting me when I saw “Bandstand” last night. It’s one of the best! And in the year of “Natasha, Pierre…and the Great Comet”,”Come From Away” and “Hello Dolly” that is really saying something. I had heard nothing about it. Didn’t know what I was in for. But trust me. It’s a Wow! I know I just said that about “Hello Dolly,” but this is a NEW musical. Brand new, with an entirely new score set at the end of World War II, as the boys come home to…Cleveland.

I know that doesn’t sound like a great premise for a musical, but believe me, it was tremendous. Tremendously rewarding in its’ own sweet way. And it heralds the arrival of a sparkling new bunch of musical talent. Composer Richard Oberacker, who co-wrote the lyrics with Rod Taylor, has written a marvelously melodic, but also dramatic score with one terrific tune after the other.Written in what I guess you could call Swing time.

The band is made up of overseas warriors coming home to find no jobs in Cleveland.(Think “Best Years of Our Lives”) and no work.

Laura Osnes is the only previously known quantity as the leading lady. Formerly “Cinderella” herself, and of course, “Hamilton”s great Tony-winning choreographer, Andy Blackenbuehler, who here makes his stunning directorial debut and well as keeping the dancing GIs and snappy home girls as peppy as a gin fizz.

But the real find is their incredible young leading man, the charismatic Corey Cott, who opens the show and brings down the house in a wife-beater! Wailing a solo tune that bears his name “Donny Novitski.” The hairy-chested but wiry and very, very angry Cott howls up a storm about his plight and the war (and his Polish last name).

Corey Cott turns out to be the man of the hour from “Gigi”! He was the Louis Jourdan role in the delightful musical  of the classic movie, which played all too briefly last season on Bway. Coery Cott in Gigi 1

Cott’s got it all, and is allowed to show his great musical as well as emotional range here, as he returns from the war, truly scarred and troubled, whose only solace is playing his music.He convincingly morphs into ambitious band-leader D0nny Nova, who falls madly in love, natch, with the adorable Ms. Osnes. She is a local girl and a Gold Star war widow, and Danny was her late husband’s best friend. Julia, who has the unfortunate last name of Trojan. So she is Julia Trojan for most of “Bandstand”, and Osnes does her best work ever in this challenging, dramatic role, where she has to go from shy Sunday school church singer to swinging big band belter. And she does. And she’s been awarded a Drama Desk nomination for Best Actress in a Musical. This is in a year when her co-nominees are none other than Bette Midler, Patti LuPone,and Christine Ebersole. She and Cott sing their hearts out. And win ours in the process.

But I’m up in arms about the criminal overlooking of Corey Cott come awards time, which is upon us. Donny Novitsky a.k.a. Donny Nova is as equally challenging and demanding a role as Osnes’ Gloria Trojan. He should’ve been recognized. His vocal range is amazing and his sense of humor right on target. He sees Frank Sinatra as his competitor.  “He’s over-rated and he sings flat.”

I also have to say, I found “Bandstand”s book, funny and sharp, and amazingly well-written. And again it’s Oberacker and Taylor, who wrote it along with all the orginal music in the show. “Bandstand” is certainly a winner on all fronts. I couldn’t have enjoyed it more. And the fact that the main music is being played onstage by “Bandstand”s centraI characters, gives the 1940’s inflected  music extra-snappy pizzazz, and oomph is another charming, jazzy plus. I hope audiences find it and embrace it the way Danny and Laura so romantically embrace each other in this tuneful war-time( and post-war) romance.
It’s at the Bernard B. Jacobs Theater on W.45th Street, right in the heart of Bway. And I hope Bway audiences take it to their hearts, too.

Benjamin Walker Kills in Bloody Underpants in “American Psycho:The Musical”on Bway

American Pyscho 1I never really understood the ’80’s. The 1980s. They didn’t have the defined Gestalt of the ’60s(hippies), the ’70s(punk rock). Nor have any of the decades since then seem particularly definable to me. Just one big blur. Or is just life as we know it….continues…And “American Pyscho” tries its’ best to define the undefinable ’80s. And goes ahead to prove that New York City hasn’t changed that much. So it’s relatable.

It’s trying to be the ultimate New York ’80s Wall Street musical. And at that it does succeed. And it’s combining genres like mad.Which is very avant-garde of it, which I liked. It’s complex.

The rather unbelievable idea of trying to transform Brett Easton Ellis’ novel “American Psycho” into a musical comedy is indeed, er, dicey. And it veers widely in tone. Is it comic? Well, it’s funny, at times. It rhymes “ironic” with “Manolo Blahnik” and “mahi-mahi” with Issac Mizrahi. So it’s TRYING. And it tries too much. But what can you do with intractable, basically non-musical comedy material? Well, you put the comedy and the fantasy and the sex,(see above picture) front and center.

And it does this by having its’ incredibly comely leading man Benjamin Walker enter in his tighty-whiteys (see below)And pretty much keeps him there, unclothed, for most of the rest of the musical. And that’s a good thing.AMerican Psycho 2

It’s a great thing, really, because Mr. Walker, is an incredibly adept actor/singer/comic, who dances up a storm in Act Two particularly. And yes, again in his white underwear, that is now drenched with blood. In his incredibly long, monologish sequence in Act Two, he stays drenched in blood and singing, too, it is really a tour-de-force and to his credit, he’s never self-conscious, but always sexy. And yes, compelling. He acts OVER his underpants.

“American Psycho:The Musical” owes a lot to the late lesbian novelist Patricia Highsmith’s “Talented Mr. Ripley” and all her novels, including the Alfred Hitchcock-adaptation of her”Strangers on a Train.” Highsmith’s great achievement was always putting you INSIDE the murderer’s head, be it Tom Ripley or Bruno Anthony or any of them, and making you side with the psycho, which is exactly what “American Psycho” succeeds at, too.

“American Psycho” wants to put us all, as Patricia Highsmith did, inside the mind of serial killers.

But you see, Patrick Bateman is a Don Draper-look-alike, who is really a nerd. Nothing he ever says or does satisfies him. And New York and Wall Street particularly drive him crazy, and so he acts out, bloodily. Or does he?

Where “American Psycho:The Musical” also succeeds is abstracting all the violence. The French had a whole school of theatre called “Grand Guignol” and this is a perfect example of that. Blood was always everywhere as it is at the Gerald Schoenfeld Theatre, where audiences are loving it! Es Devlin’s chiarascuro set aided by Finn Ross’ stunning scenic video projections are constantly turning the black and white Wall Street world of Patrick Bateman into a sea of red.

The first act was way too long by half, but by the time they got to “Mistletoe Alert” their Christmas number the show began to jell into the bloody aspic it becomes successfully in Act Two.

The fact that Patrick escapes to the Hamptons (see below) which he hates. (He also hates Christmas, btw.) And has to run back to New York, New York, where he feels “Safe,”made me begin to like this guy.American Psycho 3A seemingly impossible feat given the premise.

And oh yes, the chorus especially the men, are as buff as buff can be and as frequently shirtless as Benjamin Walker is. They form a very decorative set themselves.

Main among them I really liked Drew Moerlein’s Paul Owen, the perfectly slimy Wall Street a-hole, who is just BEGGING to be slaughtered by our serial-killer savior Bateman. (You see, he gets you on his murderous side, so you’re glad when he lowers quite a spectacularly bloody boom on the haplessly drunk and high Owen.)

Red-headed Jordan Dean also scores  as the closeted Wall Street-er who constantly is trying to seduce Bateman, in VERY physical ways.  His hands were all over Benjamin Walker’s superb physique rather constantly. I could relate.

Helene Yorke has the only stand-out female role as Bateman’s society-and-label-crazed fiance. And she keeps calling him “PA-TRUCK.” And Tony Winner Alice Ripley is totally wasted and unrecognizable as Pa-truck’s mother.

No. This is a show where the guyz, as you can see above, have it.

Benjamin Walker’s bravado turn just earned him an Outer Critics Circle nomination this past week. And so did Helene Yorke’s droller-than-droll deb.

The Drama Desk, btw, of which I am a voting member, announces their nominations on Thursday AM.  The Outer Critics gave “American Psycho:The Musical” the lions share of their nominations. Will the Drama Desk follow suit?

We’ll shall see. All I can say in conclusion is “AP:TM” is a bloody good time.

#American Psycho # Benjamin Walker # Outer Critics Circle # Patricia Highsmith # Talented Mr. Ripley # Alfred Hitchcock

Lydia Leonard “Wolf Hall”s Anne Boleyn, Drama Desk & Tony Nominee Best Featured Actress

Lydia Leonard 1Lydia Leonard, the charming young British actress who is wowing the crowds in “Wolf Hall, Pts. 1 &2 on Broadway as Anne Boleyn has been nominated for both the Drama Desk and Tony Awards for Best Featured Actress in a play.

Here she is at the Drama Desk Nominee Press Reception 2015. Good luck, Lydia!

Could “Wolf Hall Pts 1 & 2” Win All the Tonys???

Could the astoundingly popular British six-hour smash hit “Wolf Hall Pts. 1 & 2” win all the Tonys it’s sure to be nominated for in less than two weeks? It certainly could. It’s massive length, and its massive cast of nearly two dozen imported Royal Shakespearean actors is based on the equally massively successful and acclaimed novels by Dame Hilary Mantel.Wolf Hall 1 TONY 2015 1“Wolf Hall” and its’ successor “Bring In the Bodies” BOTH won the prestigious Mann Booker awards in Britain. And though you would think the six-hour long marathon length would daunt theater-goers, it was a success in Stratford-Upon-Avon, where it appropriately started, then in the West End, when it transferred, and now on Broadway,

Anglophiles seem to be coming out of the wood-work lapping it up as a day well-spent time-travelling to the uttterly corrupt court of King Henry VIII. It has already been adapted into a critically acclaimed hit by Mike Poulton at London’s Royal Shakespeare Company, and its current Broadway transfer has grossed almost $2 million in previews since March 20; it opened April 9. And the novels themselves have sold over three million copies world-wide

It’s also currently airing on PBS starring Mark Rylance as Thomas Cromwell, here the protagonist. With overwhelming stats like these, I think it’s going to get nominated for every Tony Award in the book. Including and especially  Best New Play, Best Actor (Ben Miles ~ Thomas Cromwell), Best Supporting Actress (Lydia Leonard ~ Anne Boleyn) and Best Supporting Actor (Nathaniel Parker ~ King Henry VIII) and you can throw in Best Director, and all the technical awards, too.

I wasn’t sure about this  TONY sweep happening, although all my critical colleagues were throwing their hats very high into the air with the best reviews of the season, until I saw a 90 minute Q&A at the New School’s auditorium in Greenwich Village.

Hosted by the jovial and expert Richard Ridge, Parker, Miles and Ms. Leonard utterly charmed and beguiled me, as they participated in this, one of the best symposiums I’ve ever attended. Hosted by SAG and Broadwayworld.com, the Tudor trio & Ridge created what was one of the most delightful afternoons chats I’ve ever been witness to.

Also invited were Drama Desk members, and all were thrilled by what they were hearing as Parker, Miles and Ms. Leonard regalled us with a totally complete picture of just how “Wolf Hall” transformed into  two stage plays from those very thick British novels.

And all three were unstinting in their generosity in their replies to Ridge’s apt questions. They were three actors talking from their hearts to an audience full of actors(The Screen Actors Guild) and they couldn’t’ve been more charming, intelligent, completely forthcoming and utterly winning.

Ben Miles, Lydia Leonard and Nathaniel Parker may have arrived here as virtual strangers on our shores, but they are going to leave nominated for every acting award they’ll be eligible for. The Drama Desk and the Tonys all announce their choices within the next two weeks. I can’t wait!

Joe Franklin Passes & Yes, I Was a Guest on his Show

One of the greats of New York talk shows just passed. Joe Franklin. He was ONLY 88, but he’s been around for so long, I thought he was in his 90s. or older.

As  a kid growing up in the Bronx, ever-glued to my television set., I Joe Franklinalways watched him whenever he came on. Which seemed to be always. He was omnipresent and I kept trying to figure out just why he had so, er, undistinguished guests.

Until years later, I became one. He was shooting his show in, I think, a TV Studio in New Jersey.I don’t know how I ever got on his Show. He was very finicky and he did all the booking himself. He was a real one man band, like I am. And you had to really pursue him, and call back a million times, it seemed. I was in the early regional theater days of my show, and we had just all traveled to Boston. To cover ART, the American Repertory Theater, run in those days by Robert Brustein.

And FINALLY Joe booked me. I couldn’t believe it! ANOTHER childhood dream come true! And then, there I was sitting on the sofa opposite him, with, I think, at least two others guests, a male to my left and a female to my right.

And I noticed something I hadn’t expected to find. He was just as nervous as I was! He put very unusual people together and then would mix it up, rapid firing questions like they were torpedo pellets. And I made the incredible, stupid mistake of saying that ART was doing something like “tap-dancing Ibsen”(which they really were) and I had said the bad word “Ibsen.” I don’t think Joe knew who that was. And then he switched the rest of the questions to the other two panelists, and didn’t come back to me again.

But at least I had made it on to his show.

Then he came back to me again, for some reason, I guess it was meeting him on Broadway for the Drama Desk. I think we got sat next to each other, for some forgotten show. And we were talking and he said, “Are you a critic? Do you want to be on my show?”

By this time he was on in the middle of the night on RADIO! You had to be there, like at 3 AM! And I don’t know if I did one or more shows this time. I remember him coming out and exclaiming with gusto”You did great, kid!” I thought I was talking to Florenz Ziegfeld.

Oh, Joe, we’ll miss you! He was the essence of New York Show Business.

March Doldrums…Oscars are over. What next? Holland Taylor as Ann Richards

Yes, dear readers, dear cineastes, the Oscars are over til, well, at least Cannes. Which is in May. Not that I’m going. Tres cher as the French say. And since every one else in the blogosphere will be there, one might as well stay put and not endure the French sun(too hot) or the humiliation if you get the wrong colored pass. You see, in Cannes, everything for the Press is determined by what colored press pass you get.

A certain color will let you march right in to the press screening you desire to go to. But if not, you have to line up with all the others who don’t have the right colored pass and wait til the other colors file in past you, taking up all the good seats. Well, sod that, as the Brits say.

Lining up in Toronto is enough of an ordeal in itself. You sometimes have to get there an hour early to get in to what you what to see. I’m remembering back to the “King’s Speech” which was at 8:45 AM, and yes, there was a line. A very long one. But as I got there particularly early, in fact, I was the FIRST ONE IN LINE, I knew I’d get in.

No such guarantee in Cannes…

Meanwhile, what else does one do in New York in March? Well, being a Voting Member of the Drama Desk, I being to start attending Broadway shows once again.

Yes, dear readers, dear cineastes, I foresake the movies for the plays, and last night I did just that starting my theater-going Spring season off right with the imploding powerhouse that is called “Ann.”

It’s a one-woman show about the late, great governor of Texas Ann Richards who was one hell of a gal, a real Texas broad who liked trail-blazing as much as she loved talking trash as well as liberal politics.

And Ann Richards is a great under-known American political figure and being a female Texas governor is no mean feat. And the real Ann Richards did it ALL.

Unfortunately, Holland Taylor, the actress who has the audacity to shoulder her story as a one-woman show at the cavernous Lincoln Center’s Vivian Beaumont, has chosen not only to act alone on a over-sized stage that a musical would be lost on, but also to have written the wobbly book as well. *sigh* It could’ve been great. But it’s only a little less than so-so. The road to theater hell is paved with good intentions. Although “Ann” is more like purgatory.

Taylor, an actress who is now somewhere in her seventh decade, is someone I feel I’ve seen acting since forever. A typical WASP matron type, I remember her being grandly soused in a supporting role in A.R. Gurney’s “The Cocktail Hour,” and she’s been in many, many plays and television shows, and she was always, well, serviceable. Just OK. But not a star, by any means.

I guess she’s most widely known now for “Two and Half Men” and I don’t know who she’s playing on it, but it’s made her well-known and probably cemented her fortune, since she’s been on it since the beginning. Me, I’ve never watched it….And there’s certainly big bucks behind the lavishly produced one woman show that is “Ann”. If only Holland Taylor hadn’t written it herself.

She’s not much of a writer, but here, as an actress, for the first time in her long career, she truly dazzles. Esp. in the long, first introductory section where she is basically directly addressing the audience, as Richards, telling her uber-colorful life story. She really does shine here. And she’s basically quoting sassy, saucy lines that Richards actually said. And in this, she’s quite fine. And funny, too and endearing. You start to love her.

BUT—

She’s so good in this, so much so that when she begins to falter in the second act of the play, and even before that, you feel a sinking frustration that a great theatrical opportunity is being blown here.

“Ann” is just TOOOO long.

The minute Michael Fagin’s stunning set for the Governor’s Office is revealed, then moves forward in space towards Holland/Richards, it’s a dazzlingly theatrical moment, and the first act should’ve end THERE. But no, no. It goes ON and ON for quite sometime where we see Ann As Governor in action, as Ms. Holland takes her seat in the Governor’s chair.

And when she sits down, so does the play. And it never really stands up again. THEN there’s a SECOND act, with basically the SAME territory covered in the Governor’s office setting AGAIN, til I just wish she’d step forward onto the apron, relate directly to the audience and shineshineshine again. Finally she does, and I have to admit I admired Holland Taylor’s pluck, but basically about the time Ann was entering her 7th decade, I felt I had been there just about as long, and was ready for her to ascend into Demoratic heaven. And she does.

Why didn’t she get a PLAYWRIGHT to help her? The EGO of the actress in this regard is overwhelming. And terribly misguided. Or a director to help her shape this unwealdy piece of barnstorming? Benjamin Endsley Klein, whoever HE is, was listed as the director, but it seemed Ms. Taylor was out there flying blind. Oh well. She’s a good enough actress and is having the time of her life bringing the exuberant Ann Richards back to life, to make it worth your while to sit and watch her display herself for two hours. But be warned. You’ll be underwhelmed. But you’ll still like Holland Taylor, but you just wish somebody could’ve said STOP!

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