Most of the time
when I go into a show, I’ve heard a few things about it. Whether it’s buzz, plot spoilers, familiarity with the cast - I typically have an inkling about what I’m going into.
Last night, I didn’t have that. My only context for “The Hills of California,” the new play from West End darling Jez Butterworth (of “The Ferryman” fame, among others), was that it was the story of a mother trying desperately to get her children into showbiz, á la “Gypsy” (which, funny enough, will be on Broadway this season just down the street at The Majestic). Based on that one whisper of plot, I was sold.
The play, which comes to us from the West End, comes bearing most of its original cast and crew from London. While it was nominated for both “Best Play” and “Best Actress” at the Olivier Awards (the British Tony Award), it wasn’t quite able to cinch them in the end. Regardless, it got enough buzz and acclaim to make it over to Broadway for us Americans to enjoy.
Tonight’s ticket came to me from the Theatr App, a nice $30 under 30 ticket that a very kind girl named Hannah couldn’t use and I was able to snag. Thanks, Hannah!
After a quick and easy work-sponsored happy hour, my stomach was full of chicken tenders and my brain was ready for a nice three-hour play.
No, I did not know it was three hours before purchasing the ticket; yes, I might have reconsidered if I had known that beforehand, but it was too late once I was in the theatre, so I stared down the three acts and said, “let’s go.”
Whoops: In the theatre, it’s old-fashioned courtesy to not shout or talk loudly about your opinions on a show within six blocks of the theatre. Why? Because you never know if you’re waiting for the bathroom next to the lead’s mother, riding the train with an ensemble member, or sitting in front of a theatre blog writer while you text your full opinions on the show in a size 24 font with the brightness all the way up….
“I always get Sam Mendez and Sam Gold mixed up,” it read. “I think Sam Gold is completely overrated. I guess Sam Mendez is pretty good. But why does Butterfield always have to write such long, bloated plays?”
Poor Sam Gold taking collateral damage, and not even on the creative team for this show!
The Plot
“The Hills of California” takes us back to both the 1950s and 1970s, where we follow the story of the Webb Sisters, whose mother was determined to find stardom for her girls by putting them together in an Andrews Sisters-style group. 20 years later, the girls reunite as their mother lays on her deathbed.
It isn’t exactly the lightest fare - matching its dark tones to other plays this season (e.g., “Job”).
The Highs
I have never, ever, in my 29 years of living, been as surprised at curtain call as I was tonight. I had absolutely no idea that Laura Donnelly was playing the mother (“Veronica”) in the first act and the lost daughter (“Joan”) in the second act. Truly! Not only is it an absolutely genius piece of casting/direction - as throughout the show, Joan is described as “being a copy of her mother” - but Donnelly’s performance truly was like watching two different actors. Physicality, tone, energy, voice - everything changed. To me, she is a shoo-in for Best Actress at the Tony’s next year. I don’t care that she lost the Olivier - I happen to think Sarah Snook was still riding the “Succession” hype which helped propel her win - I think this award is Donnelly’s to lose.
All of the child actors here are doing excellent work. Their energy really brought the show to life after a dragging first half of act one. Amazing voices for their age too! I loved hearing those tight, ‘40s-style harmonies.
Gorgeous set design here. The rotating stairwell and turntable work to great dramatic effect, and are utilized to their fullest (and trust me, post-"Hamilton,” some people are not using their turntables effectively).
I quite enjoyed Sam Mendez’s direction here. The subtle parallels he was able to build between the younger and older versions of the characters was satisfying, and helps the audience feel rewarded in “noticing” the similarities from Act 1 to Act 3.
The Lows
This is a long script. And unfortunately, you feel the length. The sections with the younger girls have quite a lot of energy, and feel like they’re moving toward something. The sections with the adult girls? Slooooow. With (in my opinion) too many pages of dead weight. The men were given a lot of development that we didn’t care about, and I felt like some of the scenes between the girls could’ve been edited down. Perhaps it still would have been a three-act narrative, but I think we could easily have cut at least 15-25 minutes to make it a more palatable 2.5 hours. I noticed quite a few groups leave between the second and third acts.
I found the lighting to be quite dark throughout. I would’ve appreciated a little more light so I could read expressions more easily from my back orchestra seat.
The sightline of the top of the stairs was cut off from my seat, which is unfortunate, as a key character reaction moment happens from that area. I saw…the actress’s knees. Could we please remember to sit in every seat in the house when we review sets please!!!!
I found some of the male performances a bit weak, particularly the character of the pianist. There was a frankly bizarre sequence in the second act where he had a dramatic moment, put his head in his hands, sighed, and then sort of mumbled his line and walked offstage? I assume he was hired for his piano skills but still - very odd.
Finally, there was an issue tonight was hearing assistive headsets that I’ve never experienced before. They made an announcement before the show asking those using the devices to please turn off their hearing aids before using the tools, as the hearing aids would create static if used together. Of course, people did not listen (or maybe they didn’t hear the announcement, ha), but throughout the show there was a current of buzzing from the audience. It was the headsets. Yikes.
The Takeaway
This probably isn’t the script of the season. It might not even be the ensemble of the season. But what it does deliver is absolutely masterful work in casting, direction, and performance from Laura Donnelly.
You might even find yourself singing some Andrews Sisters tunes on the way home.