Our Town: Two Historic Productions 2pc

Both versions of Thornton Wilder's "Our Town" - the 1977 NBC production starring Hal Holbrook and the 1988 Lincoln Center production starring Spalding Gray - do this greatest American play justice. In both, the staging is comparably sparse, relying instead on mime to add depth to the dialogue; and, in both, the atmosphere generated by the lack of props and buildings is somber, even a little forboding. Similarly, the inclusion of a Stage Manager (Holbrook and Gray), serves as much to infuse this sense of forboding as it does to keep the play from devolving into a vehicle for extolling convential values; or, conversely, to keep the essential absurdity of the social and moral trappings humans devise to give their lives meaning from rendering those trappings meaningless (this is definitely not Theatre of the Absurd). The Stage Manager also keeps the audience from becoming overly involved in the characters' lives; in this way, the third act, with its emphasis on death, focuses the audience's attention on the play's deeper meaning rather than simply milking its emotions. In the final analysis, though, both versions being equally faithful to Wilder's larger purpose, all one can do is compare and contrast the actors in each.In my opinion, the actors in the Lincoln Center production were better suited to their roles than those in the NBC production - the major exception being Hal Holbrook, who seemed slightly better suited to portray the Stage Manager than Spalding Gray. Both Penelope Ann Miller and Eric Stoltz, in the Lincoln Center production, seemed to bring a greater reality to Emily Webb and George Gibbs respectively - the two main characters - than did Glynnis O'Connor and Robby Benson in the NBC production. Miller was a more ambivalent Emily than O'Connor, more unsure of her physical self yet at the same time more confident of her intelligence; and in the crucial final scene, where Emily returns to the place of the living, there was more despair at being unable to become a part of her former life in Miller's Emily but, even so, greater reluctance to resume her place among the dead. Stoltz's George seemed shallower and less insightful than Benson's George; but this made for a George Gibbs better suited to the overall tenor of the play, as well as more realistically drawn; Stoltz's George could never have grasped what the playwright's larger purpose was - and shouldn't have been able to; whereas Benson's George evinced a greater capacity for growth than the character was actually endowed with. I also found James Rebhorn and Frances Conroy better matches for Dr. and Mrs. Gibbs than Ned Beatty and Sada Thompson; and Peter Maloney and Roberta Maxwell better matches for Mr. and Mrs. Webb than Ronny Cox and Barbara Bel Geddes. And, though a minor character, the church organist and town drunk, Simon Stimson, was better portrayed by Jeff Weiss than David Cryer.Regardless how superb the two productions were, or which may have been the better production, it's truer about "Our Town" than almost any other play ever written that it must be seen on stage, in person, to experience its full effect. I had the good fortune to see "Our Town" produced in a local community theater; and though its staging, direction and acting couldn't equal either of these professional versions, it surpassed both because of the immediacy of seeing it first hand. Since the play itself, with its Stage Manager, sparse set and mimed actions, keeps the audience at bay, seeing it on film puts an even greater distance. It has to be seen right in front of you to be truly appreciated.

Two discs, each with a version of Thornton Wilder's play "Our Town" (originally produced on stage in 1938). There are no extras on the discs, just chapter menu. The packaging tells the story of Wilder's attempt before his death in 1975 to leave behind a definitive version after the film version of 1940 made Emily Webb wake up from a bad dream during childbirth...defeating the purpose of the entire script and giving the ultimate hollywood happy ending.I saw the televison broadcast of 1977 and always remembered it, in my High School theater passion, as the best television production of any play I'd ever seen. I was familar with the play from English Class but had never seen it brought to life. I had the unfortunate task of returning to theater class to say I thought Robbie Benson was terrific after all. I was always worried throughout the years that it wouldn't hold up if the miracle ever occured that I should be able to see it again.Well, my friends, it holds up in a grand way! It still makes me whispy and joyful and speaks from the heart while it shoots from the hip. This production walks the line between sentimentality and pure golden innocence with the finest of lines. Thornton's text is delivered with quiet passion and gentle importance. Hal Holbrook as the stage manager is inspired. Glynnis O'Connor captures Emily with the sweetest glee and Robby Benson nails it... the production is right on the money and the team of George Schaefer as director and Saul Jaffe as producer really created an exceptional reality.The 1988-89 production, directed by Gregory Mosher at the Lincoln Center, goes nowhere near the sentimental line. In fact, much of the warmth is purposefully pulled out creating a dry and quick paced excercise. Don't get me wrong...it's a terrific experience, as it seems to replace the heart of script with the brains of the piece. Mosher has these folks busting though their lines so fast that this production is 15 minutes shorter than the 1977 companion. There is no bigger fan of Spalding Gray than myself. His signature delivery embraces the New English regional syntax while it pulls away from swimming in the blood of the piece. He's taking the pulse of the script, not riding the wave of emotion. Eric Stoltz gives a "city boy's" view of the role. Penelope Ann Miller has some powerful moments...despite a bit of shouting. Frances Conroy is ethereal.Each of these productions bring out different attributes of the amazing script. They show how deep and rich the script is and why it's the most produced play in America.If you enjoy this play, you might want to check out the work of Horton Foote (some of which is available on DVD; "Courtship", "On "Valentine's Day" and "1918" Courtship , 1918 , On Valentine's Day

Decades ago, I saw the professional production with Hal Holbrook on TV and was absolutely floored by the power of the dialogue and the acting. It was obscenely priced, like $70, so I never bought it until I saw this package and bought used copies. Glynnis O’Conner’s performance alone is worth the price. She’ll bring you to tears with her genuine, believable portrayal. Why her career never made bigger waves, I’ll never know. Robbie Benson’s performance is also impressive. It’s a minimalist production that draws the audience’s attention. And then there’s Thorton Wilder’s words, absolutely amazing. This is an American masterpiece that, at the least, will make you contemplate the priceless value of each moment of life.The accompanying cd won’t play, but I don’t care. The Holbrook, O’Conner, Benson production alone makes this a valued purchase.

Ever since I video taped the Hal Hollbrook PB version back in the 70s I never stopped re-watching it. I started searching for a DVD version with no luck. Then I asked my local library for their help. They came up big. Both productions are priceless, especially the Hollbrook version.Mike