Described as the “First Lady of the American theatre”, the fictitious Lillian Hall (Lange) is one of the all-time greats.  She’s performed in 206 plays across 49 years, she’s won countless awards, and she’s recognised by the public when walking the streets of New York City.  Her latest production is in a revival of Anton Chevkov’s The Cherry Orchard.  Under the guidance of young director David Flemming (Williams), the cast and crew are in full rehearsal mode as they prepare to open in front of sold-out crowds.

The premise makes for an interesting character study.  Hall has become the central figure of a universe that everyone else revolves around.  She’s a diva who likes her ego stroked but, at the same time, she’s a somewhat private woman who likes maintaining an aura of mysteriousness.  She’s become so accustomed to being a revered celebrity that it’s almost impossible to discern who is the “real” Lillian Hall as opposed to the person who charms audiences and the media.

We watch as several people interact with Hall and try to see through her tough exterior.  Her grown daughter (Rabe) wants to spend more time with her mother, sometimes for questionable reasons, but Hall is more devoted to work than family.  Her long-time assistant (Bates) has become a close confidante but the line between friend and employee is blurry.  The young director of the current show (Williams) struggles to critique his leading actress given her experience vastly exceeds his own.

The film’s dramatic elements are elevated when, after flubbing a few lines, Hall sees a doctor and is diagnosed with a form of dementia.  Denial is her first instinct but once reality kicks in, she must confront an uncertain future.  The artistic endeavour that has brought fame and fortune is about to ripped away in a cruel manner.  The most pressing short-term issue is The Cherry Orchard itself.  Can Hall find a way to get through the current show and “go out on top” without risking her reputation?

A few plot points are superfluous (like Pierce Brosnan as her chatty next-door neighbour) but The Great Lillian Hall draws you in thanks to a great lead performance from Oscar winner Jessica Lange (Blue Sky) who captures the many facets of a complex character.  Kathy Bates (Misery) blends comedy and tragedy in a Kathy Bates-type role, while Cindy Hogan (American Underdog) steals every scene as a no-nonsense producer who realises the show is in strife.

80-year-old director Michael Cristofer, who has a long history as an actor and playwright in the theatre, keeps the film moving at a brisk pace by weaving “making of” interviews within the material.  Cristofer understands the subject and it’s another reason why The Great Lillian Hall is an engaging watch.