' National Enquirer' ecutive editor Barry Levine works out of a guestbathroom-sized office on New York's East Side.The walls don't go all the way to the ceiling; the carpet is stain-colored.Everyone has experienced the panic: You’re crossing a busy city street on a green light when you realize, as the traffic comes barreling along, that it’s actually a red light.You dart for the closest sidewalk, and the panic quickly subsides.It was as if Pope saw the future, recognized TV 's potential to create an intimacy between star and audience that movies couldn't match, humanizing famous people by bringing them down off the fifty-foot screen and into American living rooms. "Lucille Ball on the cover sold better than John Wayne," Iain Calder wrote."Mary Tyler Moore was bigger than Doris Day."The shift in formula changed everything.Zeller’s 2012 play has been adapted from the original French by Christopher Hampton, and its American premiere took place Thursday at MTC’s Samuel J. Frank Langella plays the lead character, Andre, and the beauty and the horror of seeing “The Father” is that Zeller puts us inside his head for most of the drama.A devoted daughter, Anne (Kathryn Erbe), cares for Andre, but nothing is immediately clear about the situation. She tells him she’s moving to London, then she’s not moving. Does she have a husband (Charles Borland), or is that scene a flashback that Andre is experiencing in the present?
"I don't think he even needs those files," says field reporters, including the team that broke the news of an affair between John Edwards and loopy videographer-with-benefits Rielle Hunter in 2007.
The Pulitzer board briefly challenged the paper's eligibility, citing some language on the 's coverage of the Eliot Spitzer prostitution scandal—honored last year in the breaking-news category—basically a wellecuted gossip story about a politician?
And while many pundits have dismissed the campaign as a publicity stunt, others, like media reporter Howard Kurtz, have rallied behind the paper, crediting it with the kind of investigative industry that traditional newspapers, eviscerated by downsizing, won't or can't display anymore.
There’s more than a glimmer of the man Andre once was: fastidious, smart, demanding, immensely flirtatious, and unafraid to pick sides in the sibling war between Anne and a sister we never meet but whom he talks about in the most flattering terms.
Andre can do everything he used to — dance, strut around, rant and rave — only his mind has a serious short circuit. Zeller has underwritten the supporting characters, and director Doug Hughes is wise to keep those performances very understated.