Delayed Reaction
Posted by Jon Michael Hill on 7/31/2008
Opening this show has been a monumental moment in my life and career. Imagine my excitement as I watched August: Osage County on its opening night on Broadway, knowing I was next in line to tackle a play written by the same genius man. Imagine my terror. At this point I had not performed on the Steppenwolf stage as an ensemble member, and I already knew that the eyes of the theater world would be closely watching to see what Tracy would come up with next–not to mention subscribers who had been coming to the theater for years who must have been curious to see this new kid that the ensemble had embraced as their own. Just imagine my relief when I learned that Tina Landau, whom I had already worked on two previous shows with and had grown into myself as a young actor with, had been pulled on board! Then, if you will, imagine the honor I felt when I learned that Michael McKean, whom I had seen in the acclaimed The Homecoming on Broadway not too long ago and was staggered by, had joined the project.
I won’t ask you to imagine anything else, but I will tell you that I felt small and still do. This experience can be described as nothing other than humbling for me. To be in the presence of the caliber of actors I’m working with, the astounding insight of Tracy and Tina’s unmatched craftsmanship I was not only trying to do justice to the play and the brilliant character but also trying to absorb the years of experience in the room.
Though I felt off balance through most of the preview process, with changes to the script and working out technical details, I trusted that the show we had crafted in the rehearsal room was a powerful one and that all I had to do was continue to work hard and settle into the work we’d done. It continues to be a joy and an honor to come to this theater everyday and share this character’s soul with my co-workers and, of course, the audience.
July 31st, 2008 at 9:58 pm
Well, I saw the show last night - Wednesday. And I’ll just say that if you feel off balance, stay that way. If you feel small, stay small. If script changes threw you, stay thrown, because we were all along for the ride last night. Well done to you and all. I look forward to seeing much more from you, Mr. Hill.
- John Sanders
August 1st, 2008 at 12:47 pm
I’ve got a lot of nerve making this comment, but here goes. We saw Superior Donut when in Chicago last week, and really enjoyed it … most of it.
I did not like the fight scene. It was awkward, in my opinion, and it lasted too long. And it made me uncomfortable. I’m not sure how significant the fight was to the play, but then what do I know.
I think Tracy Letts is the greatest. Totally enjoy him as an actor and playwright. Couldn’t get to Chicago for August: Osage … nor to NYC, but am hoping it’ll be back in Chicago before too long.
August 5th, 2008 at 5:46 pm
Le Fight Scene needed major light-strobing or for heaven’s sake! Cut the bloody thing! I agree with Lucille (you are not alone). Cut the silly fight scene, it was an embarassment. The audience bled and was bruised too.
August 7th, 2008 at 10:00 pm
Jon, we saw the play last weekend and your performance was a stand out. Your did more than justice to the playwright’s words and the play was most alive when you were on stage. We can’t wait to see you perform again. (We’ve been Steppenwolf subscribers for 20 years).
August 12th, 2008 at 5:31 am
First of all, another outstanding effort by all involved in Superior Donuts. I take issue with the comments above regarding the fight scene. It was integral to Arthur’s character. In ways big and small he has been avoiding life’s challenges by running away or simply not taking any action. He talks a good fight. To engage in the battle with a younger, stronger and more ruthless advesary he once again becomes a human being. That the fight scene was bloody no argument. I was surprised by the transformation and the skill required to display the effects of the fight.
August 13th, 2008 at 11:31 am
Okay well, if all is perfect and there is nothing to counter-weight and if critiquing in any way except a positive manner, is the name of the Steppenwolf game - FOR SHAME!
My intuition tells me Mr. Letts had stuffed this play in the filing cabinet when he was much younger, maybe twenty years ago, as a fledgling Chicagoan. It smacked of youthful penmanship. But then was dusted off and finished in true confidence having been awarded for his August opus.
The fight scene is lame. It would have been better had it been a verbal confrontation. The whole thing seemed uncomfortable for the actors, as if they would rather have had it transpire some other way. Like off stage. Blood? That wasn’t blood. I hope it was cherry flavored!
Anyway, if criticism is not allowed here, which I know it is, in the name of art, that would cloud communication, and my passion for acting and the theatre, which I dubbed ‘My Home’ when I was in fourth grade.
PS: I am aware that Arthur needed to arch via the play but fighting the Italian/Irish mob person, I thought, was a lame, childishly uncomfortable way to handle it.
PPS: I did love Lady best. She was a terrific character and wish she’d had a meatier part. And Jon seemed hell bent on keeping the energy afloat and it was at times, painful to watch. It must be exhausting!
August 13th, 2008 at 6:30 pm
As a result of the “pathetic” fight, I’ve been toying with the idea of fighting, violence, war and what it serves, defines or resolves ever since - and how it plays into what it means to be American - perhaps especially an American male. On one level, both men seemed to feel they deserved to be beaten up - it’s as if they let themselves be beat up as much as they threw punches. I felt sorry for both - so much internal suffering in that fight - and there was no real “winner” - unless that ending face bashing by Arthur - or the vicious dunk in the janitor’s pail was “triumphant”. Arthur’s challenge was to overcome the heartbreak of his father’s view of him as a coward for choosing Canada/pacifism (hardly cowardice, given the personal price paid for leaving - isolation from your family and culture) over Vietnam. Post WWII, the idea of going to war as something that “made the man” was changing. Maybe slowly, the physical fight, the need to war is being evolved out of us? We can surely see that most such “fight scenes” are just violence no matter who’s throwing the punches for whatever reason. It’s interesting that many audience members think that scene can go - but did Arthur? He felt he needed to fight - go to war - to be powerful - a very old script. Did the massive violence in VN solve or change anything? Could history have done without that act? Unfortunately, the fear of “Communism” and our own country’s need to assert its military power drove us right on in, just like Arthur, who still had a glimmer of the old idea “this is strength, this is manhood” in his mind pushing him to that fight. Arthur’s moment of triumph is not when he fights. He is still a boy then. He is courageous when he decides to live and to open himself up to the life around him. He so gorgeously became a man when he supported Franco like a son, when he apologized for hurting Franco, when he calls Randy for a date even though he feels not fully worthy of love. Calling his daughter was just around the corner. Being accountable is courage. Opening up to the messiness of life - to change - without fear is courage. If we want a fight scene out of a play because it so clearly did nothing to further the character’s breathtaking evolution, we’re just one step away from seeing that wars are just as superfluous.
August 17th, 2008 at 5:13 pm
Sorry Jon for moving in on your blog; leaving a comment having little to do with your entry, but…
To Renee Mumford: I think your comments are dismissive and annoying. With your “…passion for acting and theatre” since fourth grade (a while ago for you, I’m sure) I would have expected a better assessment dealing with the art and criticism for Superior Donuts. I think you’re missing some important points and should look at the larger picture instead of ruining it with lame, limited perceptions that an immature cherry flavor loving child might cry over. Just something to think about in “…the name of the Steppenwolf game - FOR SHAME!”
Thank you Lisa Haufschild for a more well rounded critique.
As for you Jon Hill, giving your all every performance is something to notice, but not dwell in. I think you are truly magical on that stage and I’m very excited to see you in the future.
August 21st, 2008 at 1:36 pm
To CJ: Glad you are thinking! That is a good thing. And you can think whatever you want. I personally, THINK those who are only prone to kissy face sort of comments, can take a hike. I am as are you, entitled to think. FOR SHAME! I like how Lisa up top thinks. Yes, the fight scene was sophmoric and pointless. As might be war in general.
I hope my suggestions have been taken seriously and that SD has implemented my thoughts.
Can do no wrong! No wrong! No wrong! How can the garden grow with that attitude?
RM
August 21st, 2008 at 4:37 pm
One more thing dear Mr. CJ,
It’s always about the audience, paying customers if you will. TO BE entertained. The theater is, ultimately, an evening of entertainment. Always, always, always.
See, hear, speak. Just like the three monkeys except evil isn’t always involved. Sometimes it’s potheads and over zealous first novelists!
If you can’t hear the actors speaking or are stuck behind a cement piling (this does not apply to Step theatre, more The Schubert (NOT LaSalle..blah, blah).
Yes, you are obviously young. I forgive you. And could probably play the role of your mother. Isn’t that nice! Maybe someday….
In the meantime, keep breaking those legs!
With love and passion about acting/the theater.
All best,
Renee