In two different plays, adapted from two different films, and by two different directors (one Belgian and one French), two women—“of a certain age,” someone, more likely than not a man, might write colloquially, garden variety sexism dotting the fibrous page—look into the mirror and see their unsavory fates, and the loss of what was once so promising, even if under a particular paradigm. They’re two actresses playing actresses in play adaptations of films about plays, and theatre, and performance, and all of that baggage. One actress, Margo Channing (Gillian Anderson), reacts to her growing obsolescence with venomous wit, peppered in with drunken desperation. The other, Myrtle Gordon (Gena Rowlands) responds with a sort of actorly paralysis, like the yips, and also with sloshed conduct. And as two live feeds amplify and project the frustration and neuroses these women are experiencing, men loom in the background, flattening it all for the sake of their own thrill.
It’s fairly interesting that, at least in New York, that the international broadcast of the National Theatre’s production of All About Eve, directed and adapted by Ivo van Hove, and the United States premiere of the stage adaptation of Opening Night, directed and adapted by Cyril Teste, should “run” in such close proximity to one another, mere weeks apart. They’re effectively very similar texts, with equally iconoclastic leading roles for women, and presented in not dissimilar, but extremely disheartening ways. It could be argued that the films from which these plays are adapted are in dialogue with one another, and, in a way, so are the adaptations themselves, though I would really designate it as a pompous shouting match that grates on the ear than a conversation. Read the rest of this entry »