He has also worked extensively on television and radio. Roger Warren's numerous publications include five editions for the Oxford Shakespeare series; he has also prepared many performing editions, especially for Propeller and the Peter Hall Company. He has collaborated with Edward Hall on eleven Shakespeare productions in the last decade. Convert currency. Add to Basket. Condition: New. Language: English. Brand new Book.
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Used; Good. We believe you will be completely satisfied with our quick and reliable service. All orders are dispatched as swiftly as possible! Buy with confidence! Used - Like New. Book in almost Brand New condition. With three stories that dovetail into one, the play offers at the heart of each story comic elements that have kept audiences entertained for generations.
Meanwhile in the forest, the fairy rulers Oberon Pritchett and Titania Scarlett Strallen are sparring over who should get custody of a changeling child. And a troupe of Athenian workmen, rehearsing in the forest, are putting together a play for the nuptials of Theseus and his bride Hippolyta Strallen. Mistaken identity, love potions, metamorphosis, fits of jealousy, and ham-fisted theatrics combine to make the play a celebration of the different worlds theater can manifest.
Last year at Hartford Stage, director Darko Tresnjak gave us a silly, effervescent Comedy of Errors and seems determined to do the same with Midsummer. This strategy gives us an English country estate, particularly its gatehouse, for Athens, complete with an ordered park as environs. When Lysander and Hermia, supposedly at large in the wilds, lie a little further off amidst trim hedges and park benches, something seems awry. Theseus, as everyone knows, is kind of a killjoy.
Here, I found myself taking his side.
One imagines the lovers would fare better if differently presented. In their school uniforms, they look immature and, suitably, act petulant rather than passionate. Vivid too are those mechanicals, with John Lavelle as a Bottom whose well of mugging and vocal mannerisms hath no bottom, abetted by Matthew Macca as a lollipop-licking Flute. The point of the play within a play seems to be to show that, once upon a stage, a player will strut for all he can. The critic G.
Its failings help to show how much a play may be the creature of its appearance. The supreme merit this production aims for, and sometimes hits, is a merit of display. According to historical accounts, the Battle of Actium in 31 BC was a decisive contest at sea between the fleets of Octavian Caesar, representing the interests of the Roman Republic, and those of Marc Antony and his paramour and partner in political maneuvering, Cleopatra of Egypt.
And that should tell you a lot about the conceptual liberties on view at the Yale Summer Cabaret through June Though here the battle is in the dancers, collectively.
Rose Rage: Adapted from Shakespeare's Henry VI Plays (Oberon Modern Plays)
One second, butch, the next, femme, and, we might say, the tragedy here is that the butch side keeps winning. All the actors here are male—including the lovely, lithe and every inch a lady, Erron Crawford as Cleopatra. At the heart of the show is the question of performativity itself. Hudson Oznowicz is a very boyish Antony, as if the influence of drag-court Egypt is sapping his manliness.
It will be his undoing, ultimately, in a scene that shows him to be the biggest drama queen here. They are nothing short of full-time provocations. Soria, often with a lollipop and in pigtails, also sports a moustache that helps with his macho swagger as Agrippa, back in Rome. Among the Romans, Johnson plays Octavius in a kind of deliberative pique.
Read e-book Rose Rage: Adapted from Shakespeares Henry VI Plays (Oberon Modern Plays)
Johnson has a way with characters at least somewhat sociopathic, and his Octavius never seems so dangerous as when he is trying to seem likeable. At times, he and Antony, with their clean-cut sheen, look and act like two jocks competing to become captain of the team.
Six actors play eleven named parts. With the many switches of location and costume, it can be a little tough at times to follow the intricacies of the plot, but the emotional registers come across loud and clear.
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Sometimes major speeches are delivered as songs, mike in hand. Actors leap atop a table, sit at tables shared by audience members, sprawl on divans, deliver orations at a mike-stand, and in general cavort with a reckless abandon that, to a heady and liberating extent, makes the Bard its bitch.
Mantell—are paired with graduating directors—Elizabeth Dinkova, Kevin Hourigan, Jesse Rasmussen, respectively—to bring their plays to the stage at the Iseman Theater, featuring casts drawn primarily from first and second-year actors in the program. Sampson, who was a student of sociology before becoming a playwright, sees the story as a way to speak to women today when some standards may have changed, to some extent, but not for all. The play could be said to come out of a frustration with double-standards, not only about who can be beautiful in a racist world, but also about what stories get told by the dominant culture.
Laughter and meaningful themes go hand-in-hand, for Sampson, and working with dramaturg Catherine Maria Rodriguez and director Elizabeth Dinkova, whose work has been marked by both, has been a positive experience for all. The story occurs five years after a tragic event in the community of Bethlehem, Alaska, where Ed, a Jesuit priest in late middle-age, returns to reconcile with his estranged brother and finds himself falling in love unexpectedly in the isolated wastes.
Choosing a Jesuit as hero for her play is a testament to the Jesuits who ran the volunteer corps Hall joined, and it also was a way to work with Catholic themes. Though no one who knew her could quite understand why she was going with a small team of total strangers into one of the remotest and wildest states in the nation, her experience has made her more confident about her ability to find the themes she wants to explore in her art.
In viewing that production, Sarah B. Mantell finally saw a play she had always avoided, not wanting to experience a Jewish villain given canonical weight by the greatest writer in the English language. The key element uniting such reinventions of Shakespeare is considering how the sexist assumptions of his plays can be overturned or dramatized. Everything That Never Happened wants to take such revisionism a step further. Not only is Jessica a female hero for this reworking of Merchant , but she is also ethnically other than the dominant culture.
Mantell, whose early play, Mrs.
The upcoming season at the Yale Summer Cabaret will be announced today. Zanetti standing.
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This all-female production of a translation by Ellen McLaughlin takes its cue from the war in Bosnia, but addresses the role of women in war from BC to the present day. June July 2. Directed by Pelsue, July Young Jean Lee is an experimental artist known for provocative approaches to theater. The final show of the season is her take on the story of King Lear. In Lear , directed by Ghaheri, the focus is on the twenty-something children of raging and abused parents, Lear and Gloucester. Will the change in perspective humanize the younger generation or show them to be as mad as their suffering parents?
August Stay tuned for previews and reviews of the individual plays as the summer gets closer. As a play in which no one is exempt from being the butt of a joke—the main one is the plot itself—it has a very democratic sense of comedy. All are fools and appear foolish and the best aspect of the Hartford Stage production, directed by Artistic Director Darko Tresnjak, is how relentlessly theatrical it is. There have been a series of productions at Hartford that take us back to the films of the late s and early s: Rear Window , the Italian Neo-realist design of Romeo and Juliet , and, here, the echoes of films like Never on Sunday and Zorba the Greek , films that exploit the charm of Greece—the play is set in Ephesus—Hollywood style.
The set is stunning in its symmetries and vibrant color scheme, creating the perfect multilayered space to play out this broadly physical farce. Tresnjak throws in some of the costuming and larger-than-life style of Bollywood comedy from India as well to arrive at a zany concoction that teases and pleases. The show is a lot of fun, a feast for eye and ear, and divertingly entertaining with a vengeance. Errors is the kind of play that requires zestful ensemble work and the cast is very much up to the mark.
As her sister, Luciana, Mahira Kakkar plays meek second fiddle very well and the chemistry between the two is memorable. Charles Erickson. Like many of the routines of such comedic masters, the servants manage to be both witless and quick-witted as occasion demands. The supporting players here are all terrific, whether the fetchingly costumed prostitutes, the policemen in traditional Greek folk costumes, the striking lead courtesan, Paula Legget Chase, whose opening song brings back memories of Melina Mercouri, the twitchy Dr.
This is a world light as air in its quick switches, sharp in its put-downs and abuse, and pointed in its hyper-aware glee of how the human race is somehow at its best when able to laugh at itself.
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This Comedy of Errors is an embarrassment of riches. More to the point, and the play brings this out abundantly, none of the combatants are fighting precisely for the same thing or with the same will. And much of the drama here concerns things soldiers get up to when not engaged in battle, and plotting and partying and looking for an advantage in status is very much the business at hand.
In other words, a love interest and, importantly, jealousy, infuses all the talk of valor and honor and kills and conquests. All the many characters here are in supporting roles, which means ensemble play is key, and also that the show is an embarrassment of riches in actors playing somewhat minor important roles, such as John Douglas Thompson as Agamemnon, a part that mainly requires being stuffy and, eventually, a bit drunk. He stalks about in a civilian suit with combat boots and makes us generally uneasy the way any sighting of Dick Cheney always did, back in the lamented reign of W.
Along the way, nobler souls will fall—the play might be considered more properly the tragedy of the duty-bound Trojan hero Hector, but for the fact that we feel his fate is so—well—fated. A key role well-cast is John Glover as Pandarus, the character here who, somewhat comparable to Shylock in Merchant , is both a figure of fun and a figure of surprising pathos.
His every effort is to bring together Troilus and his niece, Cressida Ismenia Mendes , and they do get a wonderfully entertaining courtship scene that Mendes plays with beguiling grace in a very self-aware and contemporary manner. He gets the first and last lines of a play he frames, his hopes turned to rancor.