Battle Dominates Early Film Awards

Leonardo DiCaprio in One Battle After Another,
Best Picture winner for the NYFCC, NBR
and Gotham Awards.

Film award season is upon us and One Battle After Another, Paul Thomas Anderson's action epic of a former radical (Leonardo DiCaprio) rescuing his daughter from a right-wing nut job (Sean Penn), is dominating the field, winning Best Picture and several other awards from the New York Film Critics Circle, the National Board of Review and the Gotham Awards. Benicio Del Toro who plays a martial arts instructor and underground activist who aides DiCaprio's character, was named Best Supporting Actor by both the NYFCC and NBR. Rose Byrne won Best Actress from both of those groups for If I Had Legs I'd Kick You (which is also my choice for Best Title of the Decade.) 

The Gotham Awards were announced Mon., the NYFCC on Tues. and the the NBR on Wed. I have not been as excited about the movie awards this year as in past seasons. I used to obsessively keep track of all the eligible films I'd seen and where I'd seen them. Maybe I'll do that this year, but it's looking like Battle is the top film and I wasn't crazy about it. The direction was excellent, Anderson keeps the suspense tight and the action sequences were skillfully edited and shot, but the theme left me cold. Anderson appears to be condemning political extremism of all kinds. DiCaprio plays a former resistance fighter whose daughter is kidnapped by racist Army officer Sean Penn. DiCaprio's character appears to be an innocent caught between two extremes. The left-wing radical underground army he was allied with resorts to extreme violence to achieve its ends. His lover, played by Teyana Taylor, is a horrible person, abandoning their daughter and the cause when she is caught. Penn's forces are equally heinous, representing not only the current cruel immigration policies of the Trump administration, but also a cultish, deep-state powerful network of bigots called the Christmas Adventurers. 

I didn't sympathize with any of the characters except Del Toro's activist who is the only one who doesn't resort to violence to help his community. Having said that, I didn't find his performance exciting enough to warrant all these Supporting Actor prizes. I didn't really get the point of the film, except to film people getting shot and chasing each other across the desert.

Hamnet is the only other film getting major award buzz and it's not even been mentioned by these early accolade dispensers. (Still haven't seen it, but I plan to.) I did catch Wicked: For Good yesterday in 3-D and 4-DX at the Union Square theater. The seats moved while Cynthia Erivo was flying her broom, so that was fun and we were sprinkled with water during the cyclone scenes. It will probably garner a few Golden Globe nods. 

A breakdown of the winners follows:

B'way Update: Death of a Salesman

Nathan Lane, Laurie Metcalf and 
Christopher Abbott with star in
Death of a Salesman next spring.

Willy Loman is returning to Broadway. The seventh Main Stem production of Arthur Miller's Death of a Salesman will begin previews at the Winter Garden Theater on March 6, 2026 prior to an April 9 opening. Tony winner Joe Mantello (Wicked, Little Bear Ridge Road) will direct Tony winners Nathan Lane and Laurie Metcalf, Christopher Abbott (James White, House of Blue Leaves) and Ben Ahlers (Jack the footman/now rich clock maker from The Gilded Age). Scott Rudin and Barry Diller will produce. The production was originally planned in 2020, but the COVID pandemic delayed it. Earlier this year, it was announced for 2026-27. Salesman opened on Broadway in 1949, starring Lee J. Cobb, Mildred Dunnock, Arthur Kennedy and Cameron Mitchell. winning the Tony, NY Drama Critics Circle Award and Pulitzer Prize. Broadway revivals have starred George C. Scott (1975), Dustin Hoffman (1984), Brian Dennehy (1999), Philip Seymour Hoffman (2012), and Wendell Pierce (2022).

In a statement, Kate Miller, Trustee of the Arthur Miller Literary and Dramatic Property Trust said, “This production promises to channel Salesman's dynamic power in a completely new way. Part of what's so exciting about Joe Mantello’s approach is that he has been immersing himself in our extensive archives and interacting with Arthur's earliest drafts of Salesman—sounding out a deeper understanding of the play's inner workings. It's been wonderful to work with someone who is successfully finding new ways into a play that's been thoroughly studied, taught, and performed by the greatest artists in the world for nearly 80 years. Mantello’s approach will bring Salesman’s impactful and ever relevant commentary on the American dream to modern audiences, and we're so eager to see it come to life."

Mantello added, "It’s been incredibly rewarding to work closely with the Arthur Miller Estate, who’ve so generously opened the archive and encouraged real exploration. Looking through Miller’s early drafts revealed insights into the play’s first impulses—including some surprising theatrical ideas that feel both deeply familiar and unexpectedly modern."

Lane revealed, “In 1995 while rehearsing a Terrence McNally play with Joe, he turned to me one afternoon out of the blue and quietly said, ‘Someday you and I are going to do Death of a Salesman.’ And true to his word, 30 years later, that day has come. I couldn’t be more thrilled and honored to follow in the footsteps of so many great actors in tackling the role of Willy Loman, especially with the brilliant Laurie Metcalf by my side and the remarkable cast Joe is assembling. It’s a privilege to do what is arguably the greatest drama of the twentieth century, and like all great plays it always seems to speak to us anew each time we see it.”

Metcalf said, “Collaboration is everything in the theatre. I am lucky to be going from one exciting project to another with Joe Mantello—and in the very same season. Joe and Nathan are longtime collaborators, and my shared history with—and deep respect for—them makes what might otherwise feel daunting feel familiar, and absolutely thrilling.”

Off-B'way Review: The Seat of Our Pants

Shuler Hensley and Micaela Diamond in
The Seat of Our Pants.
Credit: Joan Marcus

At this year’s Thanksgiving dinner, a young relative expressed her fears the world might be doomed because of AI and a certain lawless occupant of the White House. Us old folks had to reassure her that America and humankind in general has faced worst crises and we’ve come through, if only by the skin of our teeth or the seat of our pants. In similar conversations, friends have expressed the overwhelming fear that freedom and democracy are kaput in this country, that we are headed for becoming another Gilead (the fictional right-wing dystopia of Margaret Atwood’s The Handmaid’s Tale), and where can they safely emigrate to? 

These encounters brought home the realization that this is the perfect historic moment for Ethan Lipton’s The Seat of Our Pants (at the Public), a musical adaptation of The Skin of Our Teeth, Thornton Wilder’s crazy comedy of civilization triumphing over countless disasters. Debuting on Broadway in 1942, as America had just entered the Second World War, Wilder’s Pulitzer-Prize winning existential extravaganza imagines a typical modern suburban family, the Antrobuses standing in for all of humanity as they face glaciers, floods, and devastating wars. Characters speak directly to the audience, the fourth wall is broken numerous times, dinosaurs and mammoths romp through living rooms, and Noah’s Ark, the Ice Age and World War III are recreated. It’s insane but it works. As does Lipton’s adaptation which cleverly balances Wilder’s original, slightly dated script with modern sensibility and appropriately off-kilter, satiric songs. (John Kander, Fred Ebb, and Joseph Stein attempted their own musical version of Skin which went through regional productions, readings, and workshops, but never made it to New York.)

Michael Lepore, Micaela Dimaond, 
Ruthie Ann Miles, Geena Quintos, and 
David Ryan Smith in The Seat of Our Pants.
Credit: Joan Marcus

Lipton follows Wilder’s original fairly closely with a few well-placed detours into 2025 territory and his songs strike just the right note of whimsical earnestness. The Antrobus family and their maid Sabina are first seen in their New Jersey home struggling to stay warm as a sheet of ice threatens to obliterate mankind. As they gather around a diminishing fire with homeless refugees representing philosophical, religious and artistic figures, they sing “We were born out of the darkness/And should the darkness call us back/Let us pray we smell a brisket/As we slip into the black.” It’s that specific absurd image of a brisket that brings us into the Wilder mindset of bizarre comedy amidst terror. Director Leigh Silverman stages the goofy goings-on with a serious edge, allowing the comedy to subtly come through and the seriousness to slowly surface.