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Even for sophisticated New York theatergoers, there’s nothing like a little onstage nudity to get the blood flowing. Even better, a little nudity involving perhaps the best-known child actor in the world. Daniel Radcliffe, who has played Harry Potter in five (going on six) hugely popular movies, made his stage debut last year in a London revival of Equus — Peter Shaffer’s acclaimed 1973 play about a stable boy who, in an inexplicable act of violence, has blinded six horses with a metal spike. The big news, however, was not the first glimpse of Radcliffe’s acting chops but of his private parts. Now the London production has come to Broadway, accompanied by the same sort of vaguely leering anticipation.
First things first: Yes, he’s full frontal — and not in Hair-like dim light or just for a fleeting few seconds, in the manner of so many off-Broadway plays trying to demonstrate their avant-garde cojones these days. He’s out there for several minutes, alongside a young actress (Anna Camp) equally on display, in a scene that, even 35 years later, is still pretty startling and (rare for the stage) actually erotic. The kid’s a trouper.
The director on location in Tuscany for Miracle at St. Anna,
his film about black soldiers in World War II
Miracle at St. Anna opens with images of John Wayne and his men in the World War II movie The Longest Day flickering on a TV screen in harsh black and white. Make that all white. An elderly African American (Laz Alonso) stares at the TV and murmurs, “Pilgrim, we fought for this country too.”