As Sarah Jessica Parker left the Savoy Theater in London after her performance in her play “Plaza Suite” on Saturday, she was surrounded by fans.
The multi-award winning actress, 58, smiled as she signed autographs and chatted with fans.
American star Sarah took time to greet her followers, who stood behind a barrier and were seen streaming down the stairs to her booth near the stage entrance.
The Sex and the City star casually wore a black coat and matching high-heeled boots.
Wearing cream-colored jeans, she was able to smile while chatting with fans who had been waiting to meet her.
Sarah Jessica Parker was mobbed by fans as she left the Savoy Theater in London after performing in her play Plaza Suite on Saturday
American star Sarah took time to greet her followers, who stood behind a barrier and were seen streaming down the stairs to her booth near the stage entrance
Sarah's West End debut was met with a slew of scathing two-star reviews following the show's debut in December.
Plaza Suite, in which Sarah stars alongside her real-life husband Matthew Broderick, was unveiled at the Savoy Theater to a star-studded crowd following uproar over unreasonably expensive tickets.
The revival of Neil Simon's sketch triptych, which the couple previously performed on the Broadway stage, is directed by John Benjamin Hickey and directed by the superstar couple, ages 58 and 61 respectively, who have been married since 1997.
The plays, all set in Suite 719 at New York's Plaza Hotel, are called “Visitor From Mamaroneck,” “Visitor From Hollywood” and “Visitor From Forest Hills” – and while the dated stories were criticized, the pair were praised for doing so it performed the piece.
With top-tier tickets costing almost £400, almost all reviews weighed in on the price, with a major divide among critics over whether it was worth it for the SATC star and her spouse, who are headed to the West after The End Star Messenger returns in 2019.
The website for the play, which was originally performed at Broadway's Plymouth Theater in 1968, states: “A wonderfully witty exploration of love and marriage, Plaza Suite enchanted New York audiences with its charm and star-studded cast…”
“Now, from January 2024, London's West End has the chance to witness two world-class artists and Hollywood icons transform into three unique couples in hilariously outlandish situations within the walls of the iconic Plaza Suite hotel room find again.”
The three stories are as follows: “Karen and Sam are a long-married couple whose relationship may be heading towards an untimely end.” Muriel and Jesse are former high school sweethearts who appear to be in for a long stay…
Sarah's West End debut was met with a slew of scathing two-star reviews following the show's debut in December alongside her husband Matthew Broderick
'Plaza Suite' was unveiled at the Savoy Theater to a star-studded crowd following uproar over unreasonably expensive tickets
“And Norma and Roy are the mother and father of the bride, ready to celebrate their daughter's wedding – if only they could get her out of the bathroom.”
The Independent's Alice Saville was not at all flattering, with an equally lackluster two stars for her review of the play alongside the damning prose: “Real-life couple Sarah Jessica Parker and Matthew Broderick can't save Neil Simon's dated romantic comedy.”
The Guardian described the play as a “celebrity circus” with Arifa Akbar inciting the audience's feverish excitement – complete with secret phone calls and sustained applause – despite the play's supposedly “flat and forgettable” form.
She wrote: “The production seems to be profiting effectively from the fame of its two stars.” What a low, lazy bar for such a high price (some premium package seats were reportedly selling for £395)…
“Times are tough for the arts, but commercial theater can certainly be braver.”
Sarah Hemming of the Financial Times gave it a tepid three stars, but blamed it more on the play's age and its musty writing style than on the stars.
She wrote: “Over 50 years later, the comedy has aged; Although each act is short, it feels over-the-top, while the scenes never really address the loneliness and pain that can lurk beneath the comedy.
Time Out's Andrzej Lukowski joins the masses in commenting on the ticket price, noting that it is Sarah's presence that justifies “printing money” on the price.
He wrote: “If you don't know or care who Sarah Jessica Parker and Matthew Broderick are and aren't some crazy Neil Simon completist, then there's definitely no reason to watch 'Plaza Suite.'” If you came for the main cast – well, they put on a show for you. Maybe it would have been nice if it had been a different show…
“If you essentially checked into the 'Plaza Suite' to spend two and a half hours with Sarah Jessica Parker, you're probably not going to complain to the manager.”
While a number of reviews received a stunning two stars, the feedback wasn't all bad, with The Evening Standard reporting: “People will pay for sensational event theater and the chance to see a star in person, especially one so captivating.”
The Times increased the fanfare surrounding the tickets when Clive Davis wrote: “And with the power couple come the Broadway awards…”
“Part of me feels guilty praising this project, which comes with a top price tag of £300.” Absolute madness, I hear you say. And you would be right”
What's On Stage's Sarah Crompton joined her colleagues in saying that Superstar Sarah's mediocre three stars was the appeal of the play.
Patrick Marmion of the Chron wrote: “You want showbiz? Do you want fame? Want reassuringly expensive A-lister stardust?
She wrote, “Parker's honesty, her energy, and her sheer gift for physical and verbal comedy mask some of her obvious flaws. “She is a revelation.”
Sam Marlow from The Stage gave another two-star review, writing, “But this is largely his wife's show.” This, in my opinion, is an achievement from Parker, considering the three women she plays , doing little more than making a fuss, flirting and chirping and flapping their wings feebly against the bars of the cage of domesticity and monogamy…
“And maybe it's enough for the fans.” There's nothing subtle about that – and yet a mystery remains: Of all the plays in the world, why choose this one?”
Fiona Mountford was scathing in her review, stressing that the couple lacked chemistry in their performance and largely failed to light up the stage.
Alongside her two-star review, she wrote: “I couldn't wait to leave Plaza Suite…The disturbing realization dawns that despite Parker and Broderick's 32-year relationship, there is virtually no onstage chemistry between them .”
She claimed that in the third part Sarah masked a “soul-rending level of performative hysteria” by portraying a distraught mother.
Patrick Marmion of the Chron wrote: “You want showbiz? Do you want fame? Want reassuringly expensive A-lister stardust?
“Here it comes in the form of Sarah Jessica Parker and Matthew Broderick with their hit Broadway production of Neil Simon's 1960s comedy about marriages on the rocks in a New York hotel room…”
“Some tickets retail at an eye-watering £300 (decent seats cost £75-125 and good ones cost £200) and attract a particularly well-heeled audience – most recently TV favorite Hannah Waddingham was among the guests at the gala night…
“And I’m not sure who’s digging deeper into their pockets when it comes to Moet & Chandon vending machines – the producers, the punters or the winemakers.” But John Benjamin Hickey’s production doesn’t skimp on the stage design.”
PLAZA SUITE: The reviews
THE INDEPENDENT
The husband-wife duo aren't always in on the jokes… The jokes seem labored and a bit conservative: landing them would be a challenge for far more accomplished stage actors than Parker and Broderick, who are just good enough here.
Real-life couple Sarah Jessica Parker and Matthew Broderick can't save Neil Simon's dated romantic comedy
THE GUARD
This is a celebrity circus. Even costume changes elicit oohs and aahs from the audience. It seems strangely out of proportion, because as exciting as it may be to see Sex And The City's Carrie Bradshaw on stage, the production is flat and memorable and doesn't test the experienced skills of either actor (despite this being Parker's debut in the West End). .
This adaptation looks cheesy and contemporary, but its performances are more nuanced than here.
It could be that the play is showing its age (and this production makes little effort to give it a new twist) or that it doesn't fare well with such blunt, vaudevillian treatment.
THE STAGE
Sarah Jessica Parker and Matthew Broderick's combined star power fights to revive this dated marital comedy.
Interested in seeing Carrie Bradshaw and Ferris Bueller in person? Why else would anyone rush out to this mechanical revival of Neil Simon's dull and dated 1968 comedy?
The glittering cast of the “Sex and the City” star and her actor husband is also the reason for the much-discussed, eye-popping ticket prices. Even her biggest fans must be thinking: They better be worth it.
THAT I
Amid the Regency-style decor, relationship conflicts arise, and before anything to do with the play itself, the disturbing realization dawns that, despite Parker and Broderick's 32-year relationship, there is virtually no onstage chemistry between them .
John Benjamin Hickey, a Tony Award-winning actor, is directing only his second production. A more experienced hand might have curbed some of Parker and Broderick's worst excesses, but God knows what would be done with the third act
THE EXPRESS
Parker and Broderick throw themselves into the roles, showcasing exaggerated physical and vocal tics. The laughter is flowing, but it is also ridiculous and, from today's perspective, quite unpleasant.
SJP fans will of course love to see their idol live, and she makes a confident, successful West End debut. I'd rather see what she can do next time with more extensive material.
THE FINANCIAL TIMES
Parker in particular is a delight, bringing vibrancy, precise detail and sharp comedic timing to her characters. But it's not quite enough to dust off the piece and its creakingly outdated portrayal of gender.
More than 50 years later, the comedy has aged; Although each act is short, it feels overextended, while the scenes never really address the loneliness and pain that can lurk beneath the comedy.
TIME OUT
It feels like a decent premise let down by clumsy writing and minor misogyny, but there's solid physical business and [the third section is] definitely the most overtly fun sequence.
I groaned, but it's an unusual prospect, a comedy that would almost certainly never have been brought back to life without the bond between the two leads.
Parker's performance (her West End debut) is essentially a license to print money – the most expensive tickets are over £300 – but I don't think this is a cynical choice of game. In fact, they could have made their lives a lot easier with materials that were easier to sell. But they really try.
WHAT'S ON STAGE
Parker's honesty, energy, and sheer gift for physical and verbal comedy mask some of her obvious flaws. She is a revelation.
THE TIMES
Are the VIPs good? The audience at the performance I saw had already made up their minds about this score and erupted in sustained, Broadway-style applause as they performed the first part.
THE EVENING STANDARD
John Lee Beatty's set is a clunky display of five-star decor, the supporting cast is almost unremarkable, and the whole thing occupies a very exclusive niche of New York society. But complaining about a Broadway show being “too New Yorker” is as pointless as complaining about the high ticket prices in London.
The Plaza Suite is all but sold out because people will pay for sensational event theater and the chance to see a star in the flesh, especially one so consistently captivating. If you can afford it, Sarah Jessica Parker – with Broderick as Ken to her Barbie – is worth it.
THE TELEGRAPH
The Sex and the City star and her husband Matthew Broderick are great in Neil Simon's sexually inhibited 1968 hit. But are they worth £395?
Chron
They say chintz is coming back into fashion, but it's still a somewhat frumpy, frowning spectacle. However, exuberant performances lighten the visual load and lift the mood. Whether that justifies the price of admission, dear reader, only you can say.
But it's a first-class revival of a comic book antique. All you need, ladies, is a Mr. Big who doesn't shy away from the price – which is also a good test of his character.