Running since March 2017 Three-time Tony nominee Laura Linney and Tony winner Cynthia Nixon star in Lillian Hellman's classic play about greed and ambition.
The Broadway production of Lillian Hellman's The Little Foxes closed July 2, 2017. For current Broadway show listings and tickets, please click here.
From the producers: Set in Alabama in 1900, "The Little Foxes" follows Regina Giddens and her ruthless clan, including her sister-in-law Birdie, as they clash in often brutal ways in an effort to strike the deal of their lives. Far from a sentimental look at a bygone era, the play has a surprisingly timely resonance with important issues facing our country today.
Stars Laura Linney and Cynthia Nixon will alternate the roles of Regina Hubbard Giddens and Birdie Hubbard in repertory, appearing opposite each other at each performance.
Laura Linney is a three-time Academy Award nominee and three-time Tony Award nominee. She made her Broadway debut in 1990, before going on to receive Tony Award nominations for "The Crucible," "Sight Unseen" and "Time Stands Still." She made her screen debut in the 1992 film "Lorenzo's Oil," and went on to receive Academy Award nominations for "You Can Count on Me," "Kinsey" and "The Savages."
Cynthia Nixon is best known for her portrayal of Miranda Hobbes in the HBO series, "Sex and the City," for which she won the 2004 Primetime Emmy Award for Outstanding Supporting Actress in a Comedy Series. Nixon made her Broadway debut in the 1980 revival of "The Philadelphia Story." She won the 2006 Tony Award for Best Actress in a Play for "Rabbit Hole."
What's Manhattan Theatre Club? One of three not-for-profit organizations that produce a season on Broadway each year, MTC also has two smaller stages at City Center, where they produce mostly modern plays (and sometimes musicals) in a fairly conventional style. More here.
Sullivan directs Hellman's Alabama tale with a crisp vigor that smooths over its melodramatic bumps. The cast is uniformly strong, and outstanding work comes from the leading ladies. "The Little Foxes" may not command as high a prospect in the pantheon of American drama as more poetic work by Tennessee Williams or Eugene O'Neill, but it's cunningly built and packs a punch...a richly satisfying revival.
In theory, it's a fascinating experiment - especially for theatergoers who have the resources to see both versions of the show. But in practice, one pairing has just a bit more magic in it than the other. Of course, this repertory-style casting demands comparison of the two stars, and Nixon's Regina and Linney's Birdie are in no way disappointing. It's still a treat to watch these masters at play, along with the rest of the vibrant cast. Even the set itself is a sight to behold.
Scintillating...[Hellman's] portrait of gender inequality also has contemporary teeth. Sullivan's impeccable production never overstates that modern-day relevance; he simply lets the play's rock-solid construction and lucid themes speak for themselves via a first-rate cast and exemplary design team. This is a superbly cast production with incisive character work...as classy as it is smart, shining a spotlight on a playwright who is too seldom revived on Broadway.
New York Daily News
[A] crisp and taut revival...Under Sullivan's sure-handed direction, the show satisfies no matter who's playing Regina - more or less. Supporting actors more than ably step up. But in the end it's about Nixon and Linney. Each stands tall and shrinks as the characters obviously require. Linney's huskiness and hauteur adds danger and dominance that really clicks for Regina, but she doesn't muster deep sympathy as Birdie. Nixon can be be a bit shrill as Regina, but she's heartbreaking as Birdie.
New York Magazine
The play isn't subtle; it's just delicious. The production...is solid but not transcendent for reasons beyond the two women's performances. It's largely in the calibration of the men's roles that the production falters. What remains powerfully effective, and what Sullivan's handsome production gets right, is Hellman's dissection of (and shocking prescience about) the way a systemic lack of power can turn into manipulative fury.
New York Times
[A] nimble, exhilarating revival...When top-drawer actors bestride the stage in a tremendous role and some truly killer gowns, it's time to clear the calendar. Is the play too tidy, too well made, too clear-cut in its morality to fight for a place in the first rank of American theater? Maybe. But it comes pretty close. And very well armed. Sullivan's confident production doesn't deny melodrama, but it prefers psychological and social detail over Southern gothic fripperies.
The crackling seriousness with which director Sullivan approaches this strongly cast revival of what is generally dismissed these days as a melodramatic old potboiler...I was struck by the snappy, tight writing and the psychological truth in the people who gather in the Giddens' parlor. As Regina, Linney has the gutsy, snazzy elegance...and Nixon makes a sublime Birdie. The reverse casting is enlightening, but, in comparison, feels a bit more stagey.
Brilliant, blistering...Director Sullivan has done brilliant work with this revival. His casting is flawless, his team of designers couldn't be better chosen, and the technical detail that has gone into the production is amazing. But he took a chance in letting two A-list stage actors alternate in the roles of Regina and Birdie - and the coup pays off because it encourages us to look deeper into both characters.