TV icon Oprah Winfrey is in talks to make her Broadway debut in the acclaimed play 'Night, Mother. The media mogul and actress is in talks to star in Marsha Norman's Pulitzer Prize-winning play, opposite five-time Tony winner Audra McDonald.
If cast, Winfrey will portray a desperate mum trying to talk her daughter out of committing suicide.
The show's lead producer, Scott Sanders, who is also working with Winfrey on a Broadway revival of the musical The Color Purple, has hinted that his friend would be more than ready to take on the role.
He tells the New York Times, "Oprah has had a longstanding desire to act on Broadway. She understands how unique and challenging performing live on stage will be as an actress."
'Night, Mother first opened on Broadway in 1983 with Anne Pitoniak and Kathy Bates, spawned a film version in 1986 with Sissy Spacek and Anne Bancroft, and most recently had a short-lived Broadway revival in 2004, starring Brenda Blethyn and Edie Falco.
Let's hear it for the old guy who in this movie comes off sexier than his buff young accomplice (Dermot Mulroney). OK the old guy happens to be the gracefully aging icon Paul Newman -- as a feisty heistmeister who dodges a long prison sentence and then teams up with his equally conniving rest-home nurse (Linda Fiorentino) on a bank job gone wrong. "Where the Money Is" is breezy suspenseful and as much a love story as anything else -- if you call mentoring a new life in crime a kind of love. The mission-improbable caper is no more or less entertaining than a "Rockford Files" rerun but the film's swerving joyride takes its real thrills from the great escape that Fiorentino's Bonnie Parker makes from a dead-end life in the married lane.
Newman still hasn't lost it and as Henry Manning he doesn't miss any nuances in the edgy balance between streetwise wariness and amiable rapport with his sultry new colleague. The steam-powered Fiorentino has forged her career by making danger look casual and this is her most alluring work since "The Last Seduction" added another zero to her salary. Her chemistry with Newman a flirty twist on the idea of honor among thieves is really what makes this movie worth seeing. Mulroney is serviceable as the dim but lovable hubby a supporting role that's more foil than fully etched character.
We can all thank director Marek Kanievska for deciding not to have the May-December duo end up in the sack and leaving them simply professional cohorts. The director's admirable sense of comic timing works all the better by not letting the laughs get in the way of his leads' exploration of their characters -- although there's no denying the limits of this frothy genre. Perhaps Kanievska's greatest feat here is allowing Newman to retain his dignity in close-up.