By The New York Times (Europe) | Created at 2024-09-28 11:22:59 | Updated at 2024-09-30 05:21:14
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But she did “burst into tears” reading Jez Butterworth’s rewrite of his new Broadway play, which left her with 10 days “to create an entirely new character.”
Sept. 28, 2024, 7:18 a.m. ET
Most plays that transfer to New York from London arrive in close to their original form. There might be small changes to the text, to make particular lines comprehensible to American ears, but usually not much more than that.
Laura Donnelly, the star of Jez Butterworth’s new play, “The Hills of California,” knew that the playwright had been planning rewrites since early in the London run, which stretched from January to June this year. The current Broadway engagement at the Broadhurst Theater would give Butterworth the chance.
“He was really excited about that,” Donnelly, 42, said over coffee on a recent morning in Manhattan, her dark hair lightened, permed and cut in a ’70s style for the play. “He kept referring to it as like, ‘little bits here and there,’ and I was like, ‘OK, cool. Yep, no problem.’ I think this is also what he told Sam [Mendes], our director, and told our producers. So they scheduled in two weeks of rehearsals.”
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What Butterworth, Donnelly’s partner of nearly a dozen years, had actually ended up doing was a major rewrite of the third act — an overhaul that alters the substance, plot and even meaning of the play.
From the start, Donnelly has portrayed two characters in “The Hills of California”: Veronica Webb, a guesthouse owner in Blackpool, England, in 1955, who is rigorously training her four adolescent daughters to become an American-style girl group; and Joan, her estranged and longed-for favorite child, who returns home at last in 1976, in Act III. But the Joan of the West End script was significantly different from the Joan of the Broadway script.
