#joe egg

[a-man-for-hire-and-his-archives]

Fresh shot from A Day in the Death of Joe Egg (WhatsOnStage)

[ceraunos]

wow. I’m- yeah. holy shit. good.

[shippingdragons]

A Day in the Death of Joe Egg. Opening Night interview clip. Toby talks about playwright Peter Nichols, who sadly died only two weeks ago.

[shippingdragons]

A clip from last night's Joe Egg Q&A. Toby answering @la-tarasque's question if the play is more a dark comedy or an upbeat tragedy. The Q&A was brought to us by Terri Paddock and My Theatre Mates.

[ceraunos]

listen it’s been nearly 24 hours and I still haven’t stopped thinking about Toby laughing during the curtain call and just /lighting up/

[a-man-for-hire-and-his-archives]

Sneak peak of Toby Stephens on Hear Me Out Podcast hosted by Lucy Eaton (Joe Egg)

Stay tuned for the episode via Apple, Spotify and Youtube. You can subscribe them on Patreon for more behind the scene with the guests.

Source: Hear Me Out Podcast

[papermoonstheatricaldiary]

A DAY IN THE DEATH OF JOE EGG

February 2, 1985

A DAY IN THE DEATH OF JOE EGG (aka JOE EGG) is a 1967 play by Peter Nichols, which was first staged in Glasgow, Scotland, before transferring to London's West End.  The production then transferred to Broadway the following year.  An off-Broadway production produced by Roundabout Theatre Company in 1985 (see below) transferred directly to Broadway that same year.  A 2001 London revival transferred to Broadway in 2003, also staged by Roundabout. In 2011, the Scottish production company that produced the 1967 premiere, revived the play.   An off-off-Broadway production was seen in 2013.  Nichols adapted the play for a film version released in 1972.  The 2001 / 2003 revival was adapted by Nichols for television.

The play centers on a British couple who are struggling to save their marriage while trying to raise their only child, a girl with cerebral palsy who uses a wheelchair and is unable to communicate. Caring for her has taken a heavy toll on their marriage.  

A DAY IN THE DEATH OF JOE EGG was produced by Roundabout Theatre Company off-Broadway at the Haft Theatre (at the Fashion Institute of Technology) running from January 6 to February 3, 1985.  It was directed by Arvin Brown, with scenery by Marjorie Bradley Kellogg, costumes by Bill Walker, and lighting by Ronald Wallace.  The cast was Stockard Channing (Sheila), Jim Dale (Bri), Joanna Gleason (Pam), Margaret Hilton (Grace), Gary Waldhorn (Freddie), and Tenney Walsh (Joe).  It won the 1985 Drama Desk and Outer Critics Circle Awards for Best Revival.  The production transferred to Broadway with John Tillinger replacing Gary Waldhorn.  The play won Tony Awards for Channing and for Best Reproduction [Revival].

This black comedy dealt with many topics that would touch on my future career working with people with disabilities.  I remember just how uncomfortable it was to laugh while a child with CP was being portrayed on stage.  The play beautifully faced the realities of being a full-time carer for a person with disabilities, while trying to maintain individuality and adult relationships.  

I had just seen Stockard Channing in The Golden Age and The Rink (taking over for Liza) and would see her again in such wonderful plays as The House of Blue Leaves, Woman in Mind, and Six Degrees of Separation. She is one of my all-time favorite performers.  I had missed Jim Dale in Barnum, but after JOE EGG I saw him at Roundabout again in Privates on Parade. This was also the first time I saw the wonderful Johanna Gleason.  I loved her in Into the Woods as well as the flop musical Nick & Nora.

A DAY IN THE DEATH OF JOE EGG rates 3 Paper Moons out of 5

[starrchildlemon]

I highly recommend that you all watch this play, A Day In The Death of Joe Egg, originally by Peter Nichols.  With Eddie Izzard (absolutely perfect), Victoria Hamilton (nominated for an Olivier and a Tony for this role), and also the woman who plays Basil Fawlty's wife.

Summary:

The play centers on a British couple who are struggling to save their marriage whilst trying to raise their only child, a small girl with cerebral palsy. She uses a wheelchair and is unable to communicate. Caring for her has occupied nearly every moment of her parents' lives since her birth, and this has taken a heavy toll on their marriage.

Sheila, her mother, gives Josephine as much of a life as she can while Bri wants the child institutionalised and has begun to entertain chilling fantasies of killing himself and Josephine.