Home > Broadway Buzz > Show Reviews > Three Days of Rain April 25 , 2006
The History Boys
The Threepenny Opera
Three Days of Rain
Awake and Sing!
Landscape of the Body
Stuff Happens
Based on a Totally True Story
Guardians
On the Line
Festen
SHOW ALL

FIRST PERSON : Masochism, Off-Broadway Style
FRESH FACE : Dominic Cooper
PHOTO OP : Nixon and Wasserstein Honored at T. Schreiber Studio Benefit
PHOTO OP : Jonathan Pryce Immortalized in Sculpture
PHOTO OP : Julia, Paul, and Bradley Feel the Love at Three Days of Rains Opening
BUZZ HOMEPAGE

ADVANCED SEARCH
Advanced Search
Three Days of Rain
by Rob Kendt

Star power is a fragile thing. It can be measured in box-office dollars and eight-figure salaries, it can be burnished by sympathetic lighting and framed by deft publicity spin, but ultimately its reducible to the flesh-and-blood presence of a single human actor. Nowhere is this more true than in the real time and shared space of the theater, which can prove to be a most unforgiving microscope for an actors instrument, particularly if that instrument is accustomed to different registers. In the case of Julia Roberts, who uneasily headlines the new Broadway production of Three Days of Rain, the stage is more like a telescope through which her star flickers, recognizably but dimly.

With her Easter Island bone structure, gulping smile and preposterously red cheeks, Roberts is the kind of sui generis star Hollywood supposedly stopped minting decades ago; a soft-focus hybrid of Joan Crawford and Audrey Hepburn, shes a gamine with backbone. But in Richard Greenbergs meditative gem of a play, which has seen better productions elsewhere (including one at L.A.s Evidence Room five years ago),
©2006 Joan Marcus
Paul Rudd & Julia Roberts
in Three Days of Rain
Roberts is all spine and teeth. First as Nan, a woman mourning her father and tending to her messed-up brother, Walker (Paul Rudd), then as Nan and Walkers blowzy mom, Lina, Roberts gives careful, stilted line readings and moves with a studied diffidence that doesnt seem to belong to the same lithe physical comedienne who caromed so winningly through Erin Brockovich or My Best Friends Wedding. Shes on slightly surer footing when shes still, in tete-a-tetes that play like virtual close-ups, though even from Row D these moments resonate faintly at best.

Roberts reticence seems to have sent Rudd into hysterics. In the first act, in which Nan and Walker have a tense reunion in the abandoned former studio of their architect father and his partner, the fine-featured, shaggy-haired Rudd paddles furiously, as if hes trying to keep a sinking ship afloat, but he cant strike sparks against Roberts flinty passivity. Sure, Walker is a raw nerve prone to dramatic disappearances and emotional blackmail, but Rudd plays his highs and lows with such strenuous exertion that Roberts Nan seems to have little choice but to recede into pity and disapproval. Theres little evidence of director Joe Mantellos work in these early scenes, except possibly as a referee.

Story continues below


It takes a third wheel to balance this wobbly frame. As Pip, a happily shallow TV actor whose late father was the other half of the architecture partnership, Bradley Cooper gives a preternaturally assured performance, working himself up to a first-act aria of exuberant pique that kicks the play into vibrant life. With an equal sparring partner, Rudd suddenly has a plausible target for Walkers overcooked anger, and even Roberts rises, with disarmed amusement, to the occasion presented by Coopers undeniable presence. She may have star power, but Cooper has stage power.

©2006 Joan Marcus
Bradley Cooper & Julia Roberts
in Three Days of Rain
In calling out Walkers self-important angst, Pip doesnt just clear the air; he also clears the way for Greenbergs themes, which had languished under wraps like the old furniture on Santo Loquastos set, to take dramatic shape. What had seemed until Coopers entrance like a rough passage from a Lifetime movie starts to resemble the essence of Greenbergs playa delicately mournful parable of dashed hopes, of well-intended legacies gone awry and of pleasures barely grasped before they fade. And Mantellos production begins to breathe a little.

The second act flashes back to the same studio and shows us a past the architects children have not imagined: Nan and Walkers yet-to-be father, Ned (also played by Rudd), is a shy, stammering nebbish who allows his partner, Theo (Cooper), to supply the ideas and the ambition he lacks. It makes sense that at first its the alpha male, Theo, who has the girlfriend, though he doesnt have her very securely; the feisty, erratic Lina (played by Roberts with a swooping, not entirely convincing Southern accent) has the sort of willfulness that blurs with a few drinks into dissatisfaction. So it also makes sense when she turns her fluttering attentions to Ned, and, quite movingly, lends him what is probably her last shred of encouragement.

Here, as in the first act, Roberts underplays and Rudd overcompensates, but this contrast at least resembles the light friction of romantic comedy. And the appropriately rainy climax of this fraught triangle comes off with unexpected force. Ultimately, though, the weather report on this uneven Three Days of Rain is lightly cloudy, zero chance of thunder.

Three Days of Rain
By Richard Greenberg
Directed by Joe Mantello
Bernard B. Jacobs Theatre

 
Print This Story / Send the Story to a Friend / 4/19/2006 5:51:00 PM

ADVERTISEMENT

CLICK HERE TO SUBSCRIBE
(or unsubscribe)
About Us • Feedback  • Privacy Policy • Affiliates • Advertise With Us
Advanced SearchAdvanced Search
©2006 Broadway.com, Inc.