Three Days Of Rain

With every post, I like to have an image. Just over there to the left. It's a nice layout for a blog post, I find. A book cover is always easy enough or at times I'll use a poster image, but I do sometimes try to find a production photograph. I specifically did some googling for the original production of Richard Greenberg's Three Days of Rain at the Manhattan Theatre Club in 1997, as I'm completely enthralled by the idea of John Slattery and Bradley Whitford sharing a stage before they were stars. But try to google this play, and you will see this its curious fate: Star Vehicle. It's all about Julia Roberts' Broadway debut, or James McAvoy's triumphant return to the London stage.

Why? Why would this seemingly dense play about architecture and genius and the weight of family history become fodder for film stars showing off their stage chops?

It actually makes a lot of sense it McAvoy's case, as the central role of Walker/Ned is a powerhouse that contains a lot of theatrical pyrotechnics. From madly expressive chaos to stuttering repression, it's a showcase piece for the actor that can pull it off. Roberts' decision to work on the project is more confusing, as her role doesn't contain near the splash ... but perhaps that's the point. Trading on her likability, Three Days of Rain would make an excellent way for her to establish her stage bona fides in a piece laden with the trappings of intelligentsia ... but without actually having to shoulder too much weight.

... And the play is funny. Actual, honest-to-god, laugh-out-loud funny. In a tradition spaning from Wilde to Coward to Aaron Sorkin and Joss Whedon, Greenberg is writing smart, witty people who say smart, witty things, and it really works. What could easily become a maudlin work crackles with snap and fun and joy in the playing, and that was completely surprising to me. I imagine it plays like a house on fire, and I'm looking forward to seeing it in August.