Donnelly, Laura (1982- )

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    Review: ‘The Hills of California,’ Alive With the Sound of Music

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    In Jez Butterworth’s compelling new play, four girls trained to sing close harmony wind up as acrimonious adults.Two sounds greet you at the start of “The Hills of California,” Jez Butterworth’s relentlessly entertaining new play: the crashing of waves on the beaches of Blackpool and the tinkling of a tinny piano being tuned.Both are plot points: The story concerns a musical family operating a rundown resort on the west coast of England. “Boogie-Woogie Bugle Boy,” “It Never Entered My Mind,” “When I Fall in Love” and “Dream a Little Dream of Me” are among the marvelous oldies you’ll hear sung during the course of the action.But the crashing and tuning are thematic points, too. Though frequently funny and, even at nearly three hours, swift, “The Hills of California,” which opened on Sunday at the Broadhurst Theater, drops you deep into the devastations of time and lifts you gently into the consolations of song.It does so within a familiar stage format — familiar in life, alas, as well: the dying-parent drama. In 1976, the four Webb sisters reunite at the Seaview Luxury Guesthouse (which is neither luxurious nor within sight of the sea) as their mother, Veronica, who ran the place for decades, under several desperate versions of the name, expires upstairs.Jillian, the youngest, has failed to thrive; she’s a 32-year-old virgin who lives at home, chatters nervously and secretly smokes. The others have run as far from Blackpool as they could: Ruby and Gloria into unhappy marriages hours away; Joan, the oldest, toward a dream of fame in California. Whether she has achieved that dream is an open question; she has not been back home since she left at 15, and only Jillian believes she will return even now.All this is efficiently established in the play’s opening scene, which is so sharply and subtly directed by Sam Mendes, and so vividly performed by the cast, you hardly notice all the information you’re being fed: tics, conflicts, personalities, pecking order. Then, just as you’ve finally attached everyone’s names to their faces, Butterworth rewinds to 1955, when the sisters, played by a new set of actors, are teenagers and Veronica is a terror.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Broadway-Bound ‘Sunset Boulevard’ Leads Olivier Award Nominations

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      The musical, starring Nicole Scherzinger, secured 11 nominations at Britain’s equivalent of the Tony Awards.A revival of Andrew Lloyd Webber’s “Sunset Boulevard,” starring Nicole Scherzinger as a former screen idol descending into madness, received the most nominations on Tuesday for this year’s Olivier Awards, Britain’s equivalent of the Tonys.The show, which ran at the Savoy Theater in London and will transfer to Broadway this year, is in the running for 11 awards — two more than any other play or musical — including best musical revival, best actress in a musical for Scherzinger and best director for Jamie Lloyd.When the production opened last fall, it impressed London’s often demanding theater critics. Matt Wolf, writing in The New York Times, said the production was, like its lead character, “a bit mad: reckless and daring, stretching its source material to the limit and beyond.”“I can’t imagine another London show generating comparable buzz this season,” Wolf added.Lloyd’s maverick production features hand-held cameras that are used to spotlight characters’ emotions at pivotal moments. Although critics appreciated the technique, Lloyd faces stiff competition in the best director category. The other nominees include Sam Mendes for “The Motive and the Cue,” which debuted last spring at the National Theater. The play, by Jack Thorne, dramatizes a fraught backstage relationship between Richard Burton and John Gielgud as they rehearse a Broadway production.Justin Martin, who directed “Stranger Things: The First Shadow,” also received an Olivier nomination.Manuel HarlanRupert Goold is also nominated for best director, for “Dear England,” a play about the English national soccer team that also ran at the National Theater and transferred to the West End. That show secured nine nominations.Despite receiving mixed reviews, “Stranger Things: The First Shadow,” a theatrical prequel to the Netflix show that is running at the Phoenix Theater, secured five nominations, including best new entertainment or comedy play. Houman Barekat, reviewing the production in The New York Times, said it was “exactly what you’d expect from a show co-produced by Netflix: Cheap thrills, expensively made.”This year’s nominations include a hint of TV glamour in many categories. Among the nominees for best actress in a play are Sarah Jessica Parker for “Plaza Suite,” which runs through April 13 at the Savoy Theater, and Sarah Snook (of “Succession”) for a one-woman “The Picture of Dorian Gray” at the Theater Royal Haymarket, through May 11.They will compete for that title against Laura Donnelly for “The Hills of California” at the Harold Pinter Theater, Sheridan Smith for “Shirley Valentine” at the Duke of York’s Theater, and Sophie Okonedo for “Medea” at @sohoplace.The best actor nominees include Andrew Scott for a one-man “Vanya” at the Duke of York’s Theater, and James Norton for his performance in “A Little Life” at the Harold Pinter Theater. The other nominees are Joseph Fiennes for “Dear England,” Mark Gatiss for “The Motive and the Cue,” and David Tennant for “Macbeth” at the Donmar Warehouse.The winners of this year’s awards are scheduled to be announced April 14 in a ceremony at the Royal Albert Hall in London. More

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      ‘Hills of California’ Review: A Stage Mother’s Unhappy Brood

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      Jez Butterworth’s new play explores the family dynamics of a song and dance troupe that didn’t make the big time.In Jez Butterworth’s new play, we — the audience and protagonists alike — are kept waiting and wondering.It’s the summer of 1976 and Britain is in the midst of a heat wave. In Blackpool, a seaside town in northwestern England, three sisters, Jill, Ruby and Gloria, are reunited in the guesthouse that had been the childhood home, because their hotelier mother, Veronica, is dying of cancer. They must decide whether to put her out of her misery with a high dose of morphine, or let her continue to suffer.A fourth sister, Joan, had emigrated to the United States 20 years earlier to launch a music career, and hasn’t been in touch with the family since. Will she come home now? Why did she cut contact? Well, she had her reasons.“The Hills of California,” written by Butterworth (“The Ferryman,” “Jerusalem”) and directed by Sam Mendes (“The Lehmann Trilogy”), runs at the he Harold Pinter Theater in London, through June 15. Natasha Chivers’s impressive set makes the most of the playhouse’s nearly 40-foot grid height, with three flights of stairs leading up to the unseen guest rooms.The action unfolds on the first floor, where an endearingly tacky bamboo drinks bar and large metal jukebox imbue the cheap-and-cheerful Blackpool stylings with a quiet, sentimental dignity. The hotel is called the Seaview but you can’t actually see the water from its windows. The dialogue is zippy, the humor sharp, dark and irreverent. A minor character sets the tone in an early exchange with Jill: “How’s your mother? The nurse says she’s dying.”At several points, the set rotates to show us the hotel’s kitchen quarters, and we are transported back to the 1950s. We see the sisters as teenagers (played by four younger actors), under the rigorous if somewhat domineering stewardship of their mother, Veronica (an imperiously poised Laura Donnelly), who trains them up as a song and dance troupe. They rehearse songs by The Andrews Sisters, as well as the 1948 hit by Johnny Mercer and the Pied Pipers that gives the play its title. (The music is arranged by Candida Caldicot.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More