In the 5,000 years they’ve been married, George and Maggie Antrobus have survived wars, plagues, floods, and everything in between. Now they're running low on food – and a massive glacier is headed toward their New Jersey home. An epic, timely comedy about the endurance of human spirit, Thornton Wilder’s THE SKIN OF OUR TEETH follows one “everyfamily” through the great struggles and triumphs of the human experience. Led by innovative director Lileana Blain-Cruz in a production that speaks directly to our current moment, this Pulitzer Prize-winning classic with additional material by Branden Jacobs-Jenkins is a profound reminder that life is always worth living – no matter how difficult things get.
Lincoln Center takes its one intermission here, with time to reflect on the excellences thus far: the puppetry for sure, credited to James Ortiz; Adam Rigg's flashy yet seedy boardwalk setting; spectacular sound effects from Palmer Hefferan; and the sturdy performances by the principals, notably Gabby Beans as Sabina. That part has to carry both acts on her slim shoulders, and in 1943 the larger-than-life diva Tallulah Bankhead triumphed, director Elia Kazan having cast her famously against type. Beans, in her Broadway debut, is an Eartha Kitt rather than a Tallulah: seductive and sensible by turns, a tiger who can turn pussycat at will. I don't know whether a leading role in a Lincoln Center revival can carry the oomph necessary to be a star-maker, but I have a hunch Beans' future star status is pretty secure.
Director Lileana Blain-Cruz has assembled a terrific design team, most of whom are making spectacular Broadway debuts. These include: Set designer Adam Rigg, who creates a convincing suburban home during an encroaching Ice Age, then the Atlantic City complete with rollercoaster and neon signs (one of which becomes cleverly R-rated) right before The Great Flood, then a burnt out suburban home after the devastating war. Projection designer Hannah Wasileski, who begins each of the three acts with elaborate newsreel like 'News Events of the World' videos that are a fit visual accompaniment to the loopy narration James Ortiz, who designs and directs the life-sized dinosaur and woolly mammoth in Act 1. It would do these extinct species a disservice to call them mere puppets. When the dinosaur slinks into the Antrobus household and says 'It's cold,' your heart will melt. The design helps establish the rich, bizarre juxtapositions of the play, between the everyday and the cosmic, between playfulness and resilience.
2022 | Broadway |
Lincoln Center Broadway Revival Production Broadway |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2022 | Drama Desk Awards | Outstanding Puppet Design | James Ortiz |
2022 | Drama League Awards | Distinguished Performance Awards | Gabby Beans |
2022 | Drama League Awards | Founders Award for Excellence in Directing | Lileana Blain-Cruz |
2022 | Drama League Awards | Outstanding Revival of a Play | The Skin Of Our Teeth |
2022 | Outer Critics Circle Awards | Outstanding Scenic Design (Play or Musical) | Adam Rigg |
2022 | Tony Awards | Best Costume Design of a Play | Montana Levi Blanco |
2022 | Tony Awards | Best Direction of a Play | Lileana Blain-Cruz |
2022 | Tony Awards | Best Lighting Design of a Play | Yi Zhao |
2022 | Tony Awards | Best Performance by an Actress in a Leading Role in a Play | Gabby Beans |
2022 | Tony Awards | Best Scenic Design of a Play | Adam Rigg |
2022 | Tony Awards | Best Sound Design of a Play | Palmer Hefferan |
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