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Sorry, could not submit your comment. The grown-ups discuss what's to be done. At your own bourgeois coffee klatsches, you might be called on to discuss whether James Gandolfini as Michael, in his first major role since hanging up Tony Soprano's bathrobe, can still hit the high notes.

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You might begin, like Ben Brantley of the New York Timesby praising all the actors — Gandolfini, Harcin Gay Harden, Hope Davis, and Jeff Daniels — for "incit[ing] the kind of laughter that comes from the gut, as involuntary as god of carnage marsha gay hardin or belching". Gandolfini, you'll say, echoing The New Yorker's John Lahr"brilliantly manages his character's arc from genteel to goniff, earning every moment of Reza's fun".

Who knew, you marvel like Newsdaythat "he could be as richly textured, as unpredictably sweet and cruel"?

Full list of winners at the Tony awards | Stage | The Guardian

The New York Post declared that "Gandolfini overcomes his Sopranos baggage and more than holds his own as the earthy Michael". Its rival, the Daily News, agreed: As to the play itself, well you're not bound by omerta, so you could question its profundity, remarking courtesy of the New York Times that it is "satisfyingly primitive entertainment with an intellectual veneer".

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In interviews given to promote the play, Gandolfini declined to discuss The Sopranos. Critics were far less reticent, invariably mentioning the series. Indeed Michael, who conceals a penchant for violence beneath an outward patina of cuddliness, is not such a different creature from Tony.

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You might want to note the similarities, as did the APwhich notes that both Michael and Tony are angry men with ailing mothers.