John Golden Theatre, (4/02/2015 - 6/21/2015)

First Preview: Mar 13, 2015
Opening Date: Apr 02, 2015
Closing Date: Jun 21, 2015
Total Previews: 21
Total Performances: 85

Category: Play, Revival, Broadway
Setting: A Flat in Northwest London. The Present.
Comments: "Skylight" was on hiatus from 4/14/2015 through 4/19/2015.

Opening Night Production Staff

Theatre Owned / Operated by The Shubert Organization (Philip J. Smith: Chairman; Robert E. Wankel: President)

Produced by Robert Fox, Scott Rudin, Eli Bush, Roger Berlind, William Berlind, Roy Furman, Jon B. Platt, The Shubert Organization (Philip J. Smith: Chairman; Robert E. Wankel: President), Stephanie P. McClelland, Catherine Adler, Jay Alix & Una Jackman, Scott M. Delman, Heni Koenigsberg, Spring Sirkin, Stuart Thompson, True Love Productions, The Araca Group, Carlos Arana and David Mirvish

Written by David Hare; Composed by Paul Englishby

Directed by Stephen Daldry; Associate Director: Justin Martin

Designed by Bob Crowley; Lighting Design by Natasha Katz; Sound Design by Paul Arditti; Associate Scenic Design: Rosalind Coombes; Associate Lighting Design: Jake DeGroot; Associate Sound Design: Tony Smolenski; Assistant Costume Design: Sarah Cubbage; Moving Light Programmer: Jay Penfield

Executive Producer: Joey Parnes, Sue Wagner and John Johnson; Company Manager: David van Zyll de Jong; Assistant Co. Mgr: Mike McLinden

Production Manager: Aurora Productions; Production Stage Manager: William Joseph Barnes; Stage Manager: Laurie Goldfeder

Dialect Coach: Kate Wilson; Press Representative: Philip Rinaldi; Advertising: SPOTCo, Inc. and BLT Communications, Inc.; Casting: Jim Carnahan Casting

Opening Night Cast

Carey MulliganKyra Hollis
Bill NighyTom Sergeant
Matthew Beard
Broadway Debut
Edward Sergeant

Understudies: Stephen James Anthony (Edward Sergeant), David Andrew Macdonald (Tom Sergeant) and Ryman Sneed (Kyra Hollis)

Awards and Nominations

Tony Award®

winner 2015 Best Revival of a Play [winner] 

Produced by Robert Fox, Scott Rudin, Eli Bush, Roger Berlind, William Berlind, Roy Furman, Jon B. Platt, The Shubert Organization (Philip J. Smith: Chairman; Robert E. Wankel: President), Stephanie P. McClelland, Catherine Adler, Jay Alix & Una Jackman, Scott M. Delman, Heni Koenigsberg, Spring Sirkin, Stuart Thompson, True Love Productions, The Araca Group, Carlos Arana and David Mirvish; Executive Producer: Joey Parnes, Sue Wagner and John Johnson

 2015 Best Performance by an Actor in a Leading Role in a Play [nominee] 

Bill Nighy

 2015 Best Performance by an Actress in a Leading Role in a Play [nominee] 

Carey Mulligan

 2015 Best Performance by an Actor in a Featured Role in a Play [nominee] 

Matthew Beard

 2015 Best Direction of a Play [nominee] 

Stephen Daldry

 2015 Best Scenic Design of a Play [nominee] 

Bob Crowley

 2015 Best Lighting Design of a Play [nominee] 

Natasha Katz

Drama Desk Award

 2015 Outstanding Actress in a Play [nominee] 

Carey Mulligan

Reviews


AP: "'Skylight' on Broadway is funny and poignant"

Hey, Hugh. You're not the only chef on Broadway.

Hugh Jackman, who this season famously gutted and prepared a raw fish with fennel and lemon onstage in "The River," suddenly has competition for top theater culinary honors from Carey Mulligan.

Mulligan, in a crackling revival of David Hare's "Skylight" that opened Thursday at the Golden Theater, starts and completes a spaghetti Bolognese during the first act, chopping onions and garlic and boiling water along the way. The whiff of sausage lingers deliciously during intermission.

It's a fitting theatrical device because this show, quite simply, cooks.

Mulligan, a spectacular Bill Nighy, the marvelous newcomer Matthew Beard and the director Stephen Daldry make alchemy onstage with their own red-hot talent. Funny, poignant and insightful, the West End transfer "Skylight" is a full meal in a place where appetizers often pass as entrees.

Set over 24 hours in a freezing cold apartment in a less-than-desirable part of London, the story is centered on the meeting after three years of former lovers, the high-flying restaurateur Tom (Nighy) and the inner city school teacher Kyra (Mulligan). Their six-year affair ended badly, and now the path has become clear for a possible rekindling.

Since the affair, Kyra has left Tom's "warm bubble of good taste and money" and teaches at a disadvantaged school, commuting home to live in a dismal apartment with worn pots, scuffed, grimy walls and an Ikea plastic bag holder. (Set designer Bob Crowley, brilliantly taking a walk on the sad side.)

Nighy, dressed in an expensive-looking coat and suit, is a ball of nervous energy as he trades barbs with Kyra, snooping around her apartment and tut-tutting at how far he feels she's fallen. He has a funny little habit of pulling chairs out with his feet. When Beard appears in scenes playing his son, the apple clearly hasn't fallen far from the tree.

Mulligan, dressed in a thick, shapeless sweater, is on home turf — she happily perches on a counter — and seems utterly righteous, even though there's a profound sadness inside. Their interactions are so well expressed that Nighy wordlessly opens the kitchen faucet for Mulligan while her hands are smeared with meat.

There is love here, clearly, but there is also so much that separates them. Wealth, politics, guilt, resentment, parenting and the very meaning of life are touched on as the duo press and probe each other.

The play is a bit like a verbal tennis match. No sooner has one side swayed the audience with a powerful backhand than the other gets to serve, smashing their own serve toward the baseline. Hare here is a master of varying the rhythms of anger and affection organically, so escalations into screaming abuse never feel manipulated. Stuff gets thrown in anger, but only when provoked.

Will these old lovers reconnect? Or is it too hard and too late? Hare supplies a definitive answer and then adds a lovely, hopeful coda over breakfast. You will leave full as if you'd eaten a full meal, too.


AP
04/02/2015

New York Daily News: "'Skylight' theater review: Carey Mulligan and Bill Nighy are exes reunited in Broadway revival of David Hare play"

The Bolognese sauce that simmers on a working stove in “Skylight” looks good enough to eat, but this much-admired play about exes who try to reheat their passion isn’t always so palatable.

As romances go, David Hare’s mid-1990s drama of a May-December affair stirs the brain with its still-topical thoughts on class divides and politics as well as how well opposites ultimately attract. The heart, meanwhile, is all but bypassed.

The setting is a freezing apartment in down-and-out London where Kyra (Carey Mulligan) lives. Bob Crowley’s eloquent set captures the flat’s claustrophobia-inducing dinginess. On a frigid winter night, Tom (Bill Nighy), a London restaurateur who relishes his smart clothes and posh life, has trekked to this hardscrabble part of town, far from his luxurious home.

They share a messy history. Three years earlier, Kyra walked out of Tom’s life after his wife found out about their six-year affair. Now widowed, Tom is racked with guilt and hopes to reconcile. But Kyra, who previously made peace with cheating and liked all the fine things Tom’s money bought, has rebooted her life. She’s dedicated to teaching underprivileged kids. She sees herself as being like disregarded social workers who “clear out society’s drains.”

Tom scoffs at her life, her apartment, her choices. He rails at her for serving a sort of penance in a place and job where she doesn’t belong. He’s a narcissist; everything’s about him.

So the philosophical gulf between the materialist and a newly minted idealist is even wider than the somewhat distracting 35-year gap between the two stars. Director Stephen Daldry underlines the divide by having the actors face off on either side of the stage. Not subtle. And the duo’s debates are black-and-white as well.

There’s never much question about how things will end. But the stars make it intriguing with their contrasting portraits that open another chasm between the characters. Nighy is all tics and poses and ants-in-the-pants restlessness. Mulligan is calm and measured — and even at her most self-righteous, she never sounds like she’s preaching. She even makes the melodramatic move of tossing a drawer of silverware work.

Scenes with Tom and Kyra are bookended by ones with Kyra and Tom’s 18-year-old son, Edward (a terrific Matthew Beard), who’s there for sweetness, nothing more. A glimpse of what Tom used to be like? Maybe. It’s no fluke that light pours in from windows in the building next door. It makes for a vaguely hopeful and moving end.

Better late than never.


New York Daily News
04/02/2015

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