Well, blink and you’ve missed her. Kathleen Turner was starring on Bway for a bunch o’ days, but she won’t be after tomorrow late afternoon. Her intermittently interesting starrer “High” is leaving on a season low. Closing on Sunday. Easter no less.
Kathleen Turner, once a great screen beauty, is now, in her later years beginning to resemble Winston Churchill. And that’s not necessarily a bad thing, per se. Her force, her magnetic star power is in full blaze in “High” but the rather weak and extremely clichéd play she’s in “High” is the Bway season’s biggest low. And no match for a blazing, charismatic talent like Turner’s. She literally blows it to pieces.
Usually, a play this mediocre does not make it to Broadway these days. Shows used to open and close in one night. Not so anymore when there are millions of dollars at stake . Shows get workshopped to death in places far from the glare of the Great White Way’s white-hot spotlight.Preparation and caution is all.
But how this low “High” ever made it to the Rialto is a mystery. It simply may have been the star’s wanting to do it. And that’s not really enough.
It’s a BIG part for a BIG GAL,a swearing, formerly alcoholic nun. And these days Miss Turner is nothing if not BIG. She hasn’t passed over into the plus sizes, but she’s getting there. And now she’s sporting a neck the size of Texas.
There’s virtually no sets, and not much in the way of costumes. And there’s one extended nude scene for its’ homo druggie, which actually is the play’s best scene. And Bway newcomer Evan Jonigkeit is more than up to the task. He and Ms. Turner have a nude wrestling scene. He’s nude. She isn’t. And she gets him to the floor, from which he and the play barely get up in the second act.
Jonigkeit does manage to REALLY score in the climatic gutter death scene between him and Turner in Act Two. But by then it’s the play’s death rattle you’re hearing. And it’s too little, too late.
All the characters are more or less repulsive and non-relatable. And Bull Dog Turner’s George C. Scott-like attack-style of acting was much better suited onstage as Martha in “Who’s Afraid of Virginia Woolf” which she successfully essayed several seasons back. Here she just sort of endlessly stands there with her basso profundo voice bellowing in the Booth Theater like she was Enrico Caruso with a sore throat.
Supposedly an expose of corruption in the Catholic Church (and guess what overly used plot device vice that means?) playwright Matthew Lombardo really offers nothing new at all on the subject. “Doubt” starring Cherry Jones in the role of Sister Aloyisius that won her a Tony for Best Actress in a play. And won Best Play, too. And a brace of other Tony and awards galore.”Doubt” has covered all this very same ground and did it a lot faster, and better. Memorably so.
Ms. Turner’s Martha lost the Tony to Ms. Jones’ indelible nun that year and here as Sister Jamison Connelly she’s gonna lose, too. Though stranger things have happened on Broadway. Valerie Harper in Mr. Lombardo’s other Bway bomb, er, offering “Looped” (which I actually kind of enjoyed) got Valerie Harper a Tony nod for her boozy bravura Tallulah Bankhead. Turner could pull off that hat trick, too. The critics were kind.
Me? Ms. Turner reminded of Greater Tuna. The fish, not the show.