(Charles Isherwood’s article appeared in The New York Times, 1/30.)
Total fearlessness is not a requirement for embarking on an acting career. But it is definitely a necessity for essaying the role of the dying gorgon Flora Goforth in “The Milk Train Doesn’t Stop Here Anymore,” a curious, rather curdled 1963 play by Tennessee Williams.
In Olympia Dukakis, the star of the new Off Broadway revival directed by Michael Wilson at the Laura Pels Theater, the Roundabout Theater Company has found an actress with the fortitude to risk ridicule in this fitfully moving, patchily eloquent but often preposterous drama about the loneliness and fear that can attend our going forth into the great unknown. Fortunately, Ms. Dukakis also possesses the talent to make the effort worthwhile.
Macbeth is dead. Under cover of night, an English army has swept through the landscape, killed the tyrant and taken the seat of power.
Attempting to restore peace and put in place a new ruler, the commanding officer is beset by a brutal guerrilla uprising and simmering discontent amongst his own inexperienced troops. Struggling to grasp the alien customs and politics of this harsh country, he finds himself drawn towards the tyrant's powerful widow in search of someone to share his burden of responsibility. Increasingly isolated from his own men and Scottish allies alike, his efforts to restore order appear futile as the situation spins out of control.
David Greig's exhilarating play is a vision of one man's attempt to restore peace in a country ravaged by war.
CAST: Siward ….. Jonny Phillips Gruach ….. Siobhan Redmond The Boy Soldier ….. Jack Farthing Malcolm ….. Brian Ferguson MacDuff ….. Ewan Stewart Egham ….. Alex Mann Edward ….. Daniel Rose Eric ….. Joshua Jenkins Lulach ….. Sandy Grierson Hen Girl ….. Lisa Hogg
Other parts were played by members of the company.
Original songs and music composed by Nick Powell and performed by Alex Lee, Sarah Wilson and Lisa Hogg.
Director, Roxana Silbert Producer, David Ian Neville.
(Michael Coveney’s article appeared in the Independent, 1/28.)
Creatures great and small will take to the stage in the coming weeks as the two meatiest musicals of the year go head-to-head in theatres owned by their respective, and rival, producers. More than vanity is at stake; this showdown marks a turning point in our musical-theatre history.
(Lyn Gardner’s article appeared in the Guardian, 1/27.)
There is a moment in this extraordinary, exhilarating circus-theatre piece, from Mathurin Bolze and Compagnie MPTA, when you can't help thinking of the Titanic and the story of the band playing on as the ship went down. The performers, who are more like athletes, seem to always play on: they are restless creatures of astonishing beauty, stranded on what may be a raft, a platform, or planet Earth itself. We watch as they are tossed upon the sea of life, which constantly threatens to destroy them. They willingly walk the plank as if endlessly testing themselves, they become human metronomes caught between planks, and they are transformed into ghostly shadows spinning through time and space.
"Oedipus el Rey," Luis Alfaro's gritty and passionate modern barrio retelling of Sophocles' classic tragedy, has won the Will Glickman Playwright Award for the best new play to premiere in the Bay Area in 2010. Alfaro will receive a $4,000 prize. A commemorative plaque will be given to the Magic Theatre, where the play premiered in February.
(Anne Backhaus’s and Marc Pitzke’s article appeared in Der Spiegel, 1/28.)
Brutal competition and merciless drills: The world of ballet portrayed in the movie thriller "Black Swan" is horrific. For ballerina Daphne Fernberger in New York, however, reality looks quite different. SPIEGEL ONLINE peeks behind the scenes of the legendary Juilliard School.
Daphne Fernberger has been awfully tired lately. On some days, she says, it's hard to get up and go to a ballet class where she exerts herself to her limit. Yet those are also the days that teach her what truly matters in life.
(Daisy Bowie-Sell’s article appeared in the Telegraph, 1/25.)
The man known for TV detective Hercule Poirot won the best actor award for his role in All my Sons at the Critics' Circle awards announced in London today. David Suchet, who has played the Belgian detective for 22 years, was also awarded an OBE in the new years honours list.
(Hedy Weiss’s article appeared in the Chicago Sun-Times, 1/26.)
It begins with one of those harrowing car rides through a war zone — the kind where sniper fire can come from any angle, a land mine might be set off at any point, and for varying reasons, each occupant of the vehicle might be prime prey for “the rebels,” or “government forces,” or whoever is carrying an automatic weapon.