Category Archives: Uncategorized

NEW CUBA LAW THAT ARTISTS SAY AMOUNTS TO STATE CENSORSHIP WILL BE IMPLEMENTED GRADUALLY ·

(Mimi Whitefield’s article appeared in the Miami Herald, 12/7; via the Drudge Report.)

HAVANA 

A new law — reviled by many Cuban artists as another layer of censorship and control over artistic expression but promoted by the government as a defense against vulgarity, poor taste, mediocrity and low-brow cultural influences — went into effect Friday.

The new measure comes as artists and performers on the island continue to protest, and perhaps in response to those critiques, government officials said Friday that Decree Law 349 will now be rolled out gradually.

Ever since Decree Law 349 was first published in July in the government’s Gaceta Oficial , there has been plenty of pushback on the island and abroad and a flurry of meetings between government cultural officials and artists, who are still hoping for modifications. The law requires prior government approval for artists, musicians, writers and performers who want to present their work in any spaces open to the public, including private homes and businesses.

(Read more)

Photo: Miami Herald

 

ANTHONY TURNAGE OPERA: ‘THE SILVER TASSIE’ (AFTER THE PLAY BY SEAN O’CASEY) ·

Listen on BBC Radio 3

Live from the Barbican Hall, the BBC Symphony Orchestra presents Mark-Anthony Turnage’s The Silver Tassie. Ryan Wigglesworth conducts an all-star British cast and the BBC Singers. Presented by Andrew McGregor Live from the Barbican Hall, London Mark-Anthony Turnage: The Silver Tassie (Libretto by Amanda Holden after the play by Sean O’Casey) Act I Act II 8.05 Interval 8.25 Act III Act IV Harry ….. Ashley Riches (baritone) Susie ….. Sally Matthews (soprano) Croucher….. Brindley Sherratt (bass) Mrs Foran….. Claire Booth (soprano) Teddy ….. Marcus Farnsworth (baritone) Barney ….. Alexander Robin Baker (baritone) Jessie….. Louise Alder (soprano) Mrs Heegan …..Susan Bickley (mezzo-soprano) Sylvester ….. Mark Le Brocq (tenor) Dr Maxwell/Staff Officer ….. Anthony Gregory (tenor) Corporal ….. Benedict Nelson (baritone) BBC Singers Finchley Children’s Music Group Kenneth Richardson (Director) Ryan Wigglesworth (Conductor) Sean O’Casey’s provocative 1928 play The Silver Tassie pries open the wound of the First World War and peers unblinkingly into its horrifying depths. The futility of war and its painful human cost is conveyed with even greater intensity in Mark-Anthony

Turnage’s beautifully crafted operatic adaptation, which explores what happens when young, football-mad Harry comes back from the war in a wheelchair. An all-star British cast has been assembled including Susan Bickley, Sally Matthews and Louise Alder, with rising young baritone Ashley Riches as Harry, for this long-overdue revival of the opera, premiered in 2000 at ENO. SYNOPSIS The Silver Tassie, Turnage’s second acknowledged opera, is on a much larger scale than his first, Greek.

Based on the play by Sean O’Casey written in 1927, it is set at the time of the Great War (World War I) and its title, referring to a footballing trophy, comes from a Scottish song text by Robert Burns ‘Go fetch to me a pint o’ wine, an’ fill it in a silver tassie; that I may drink before I go, a service to my bonnie lassie’. Harry Heegan (23) is a local hero – a soldier on leave from the Great War, and a renowned footballer. An only child, he lives with his parents (both in their 60s), having grown up close to the girl next door, Susie. In the flat above is a volatile young couple, Mrs Foran and her husband Teddy. The other main roles are Harry’s glamorous girlfriend, Jessie, and his best friend, Barney. Triumphant after a footballing success and winning the cup (‘The Silver Tassie’) for his team, he leaves for the front. The second act, a darkly expressionist vision of war, is cast for male voices (boys and men) only. In the second half of the opera, Harry is in a wheelchair, Teddy is blind and Jessie has deserted Harry for Barney. The final act, in which dance music plays almost continuously, brings the tragi-comedy to a poignant and moving conclusion, as Harry and Teddy set off to face the future.

ON KAREN FINLEY IN:  ‘GRABBING PUSSY/PARTS KNOWN’ AT LA MAMA (REVIEW FROM NEW YORK) ·

By Bob Shuman

Karen Finley’s set design for Grabbing Pussy/Parts Known is made up of flowering plants of pink and white and pastel colors—and for an early section of one of her monologues (three are read today: one a poem, written in the hours before curtain), she speaks as a film of time-elapsed lilies and orchids break into bloom behind her.  Blown-up, they appear comic and sexual and too fragile,  which, of course, is part of what Finley is, too, but on Saturday, October 27, she finds she is someone else, as well: an artistic first responder, to the eleven deaths at the Tree of Life Synagogue in Pittsburgh.  She is playing at La MaMa, as part of the Call to Action weekend, a gear-up for the midterms and an opportune moment to publicize her new book, from which proceeds will be given to Planned Parenthood.  People who don’t believe that all actors must be liberals, as if it’s in their DNA, instead of it being more convenient or concessionary for their careers, do believe Finley’s activism, even if they disagree with her politics. They know that, famously, she has been attacked by the right, as part of the NEA4—and she still can be brought up derisively, as “the chocolate-smeared woman,” in Ann Coulter’s writing (Finley’s Tawana Brawley-inspired monologue actually goes way back to the ‘80s, however; probably a signal that the conservative columnist needs fresh material). 

Standing in front of her script, which rests on a music stand, now, in her stylish black-and-white performance shoes, pink top, black capri pants, and an academician’s glasses—her hair is loose and red–Finley seems taller than she appears in photos:  a distinguished Commissar of the left, like a Katarina Witt–not only because she also posed for Playboy.  As a veteran of the culture wars, the actress toes the party line—and she does so aggressively, fueled by the anger that has never left her, jumping on Trump’s “bleeding eyes” remark from the 2016 presidential campaign and bringing up, exasperatedly, “the obsession” with Hillary’s deleted e-mails—“30,000 of them,” should the number have been forgotten.  Unlike Camille Paglia,  Finley’s association, her alignment with the Democrat party—and mistrust of practically everything else–may not always serve her writing—which does not seem able to get above the political; above her politics–and which in Grabbing Pussy/Parts Known, could possibly be described as Beckettian punditry.  She knows how to pace a show, though—how to start and stop her work, how to move in and out of character, which may not always make for writerly, well-made theatre.   She works with tension that can explode—and she is superior as a performer and in improvisation–even as her own plays tend to invoke others, such as: Come Back, Little Sheba; Who’s Afraid of Virginia Woolf; or even her own previous work, for example We Keep Our Victims Ready.  Actually, it can be difficult to think of Karen Finley in a sustained role of length, although she should have been seen, when she was younger, as Katherine in The Taming of the Shrew–as long as she could change the ending.  Perhaps she’s  really an illusionist, always impatiently waiting to direct a new mirage, although now, she states, she has been moved to use “poetic” space, where she can keep her script with her and provide minimal movement–as opposed to playing on a traditional stage, theatrically.  

Don’t think she has gone too soft, though. She’s “one angry bitch,” she cautions, “never in a good mood and that’s on a good day.” In Grabbing Pussy/Parts Known, Finley goes off on, among others, Catholic priests, Harvey Weinstein, Brett Kavanaugh, and border separations: Her speech can be sarcastic, mocking, hysterical, overly hurt, decisively Midwestern, and even like that of a Southern preacher or witch hag. Yet the person she reminds one of most is . . . Rush Limbaugh.  She’s a shock jock, it’s true:  she doesn’t need to play off anyone, and she can rant and go into stream of consciousness: “It’s my body . . . not Sessions’s . . . not Jared’s . . . This body.  You’ll not own my body.  It’s my body.  Pussies speak out!”  In her public meltdown, amid free-floating anger, desperation, black comedy, anguish, outrage and outrageousness–on the day when it is learned that eight and then eleven have been slaughtered—she confides, as everyone must:  “I’m really trying to do something with this life.”

Looking at the vases and containers on the stage, the flowers seem funereal.   Yet the show must have been conceptualized weeks, if not months, ago.  This gathering couldn’t have been what was originally intended, but Finley has been working fast and doggedly to incorporate the new reality–leaving behind the remains of an event with an entirely different meaning: a memorial.  

© 2018 by Bob Shuman.  All rights reserved.

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Photo credits, from top: Notey;  La MaMa;  Shuman, Mandatory Credit: Photo by JARED WICKERHAM/EPA-EFE/REX/Shutterstock (9948253an)
The Star of David memorials are lined with flowers at the Tree of Life synagogue two days after a mass shooting in Pittsburgh, Pennsylvania, USA, 29 October 2018. Officials report 11 people were killed by the gunman identified as Robert Bowers who has been charged with hate crimes and other federal charges .
Vigil for victims of synagogue shooting, Pittsburgh, USA – 29 Oct 2018Variety

TENNESSEE WILLIAMS: ‘A LOVELY SUNDAY FOR CREVE COEUR’ (REVIEW FROM NEW YORK) ·

By Bob Shuman

Four years before his death in 1983, Tennessee Williams gave critics what they wanted:  a play that wouldn’t turn their stomachs.  Even Harold Clurman, reviewer and Williams’s director for Orpheus Descending, had noted his discomfort with the playwright’s “sexual obsession,” writing, “Since The Night of the Iguana (1961), I have not cared much for Williams’s plays, though all of them bear the marks of his ‘splendid gifts.’” A Lovely Sunday for Creve Coeur, now in a rare revival at Theatre at St. Clements until Oct 21, directed by Austin Pendleton, with a first-rate cast, is Williams as good citizen–he’s trying to clean up his act (although admittedly, the playwright confessed he had used the same characters, and some of the dialogue, for an unproduced teleplay, which he said he had forgotten about, a decade earlier). His writing concerns a Civics teacher, her scholarly discipline as obscure today as it must have seemed to the playwright then.  The drama itself is hardly more than a one act–the French translates as “bitter disappointment” and, beyond symbolism, refers to a suburb outside of St. Louis, which became known for its amusement park, as well as a nearby lake, in the shape of a broken heart.  Legend relates an Indian maiden plunged herself into the water here, after her love for a fur trader was rejected. In this novelty, only for four women, Williams is writing superbly, even if his rhythms can be off. Nevertheless, the structuring seems better than in Cat on a Hot Tin Roof, a more powerful play—and  his controlled, recurrent setups for heartbreak, offer echoes of Blanche and Catherine and Laura and Tom. The characters, in A Lovely Sunday for Creve Coeur, are not exact replicas, though.  They’re on diets and doing calisthenics, discussing balanced grocery budgets and the stolid precepts of the Lutheran church–gone are the trademark booze and drugs; violence and sexual deviancy.  

Resetting the Native American lore in the middle to late 1930’s (at the time when The Glass Menagerie is also placed), Williams brought along the deplorables of the city:  the hardworking white lower-middle class teachers and store and brewery workers.  Transmuted, the legend had become what goes on behind the scenes in a workplace romance, concerning an aging woman (Dorothea) who lives in an “efficiency apartment” with her nearly deaf friend (Bodey), someone intent on dissuading the match.  Williams, however, was also signaling his behind-the-scenes surrender to theatrical convention,  despite the large aesthetic risks, which someone else might not even contemplate:  Did he really want his work to be seen as more directly comparable to that of William Inge, Horton Foote, N. Richard Nash, and Tad Mosel?   What would he lose by stripping away the elements of stifling family dynamics and sexual power, to please his detractors, albeit retaining the basic, recognizable “stranded woman” motif?  He was getting older,  68, but perhaps his theatre could not be the theatre of his time. Painfully, he decided to purloin virtually the same ending, for this play, that he had written for Summer and Smoke (1948) and its reworked companion, The Eccentricities of a Nightingale (1964)–which is even more amoral at its finish–although he would invert their hard-won meanings.  A Lovely Sunday for Creve Coeur has Dorothea subsumed into the homogeneous culture that looks down on her romantic dreams; she is socialized enough, however, to become part of the herd.  

In his 1975 Memoirs, William’s wrote: “To know me is not to love me.  At best it is to tolerate me and of drama critics I would say that tolerance seems now to be just about worn out.”  A Lovely Sunday for Creve Coeur was his attempt to do it their way, be conciliatory, and become socialized himself—but despite some respectable notices, including Harold Clurman’s in The Nation, the play ran for only a month in 1979, for the Hudson Guild, in New York:  Hardly worth the price of destroying a vision.

Jean Lichty plays the romantic Southerner, Dorothea, in the Theatre at St. Clements production, from La Femme, steely as a young Elizabeth Ashley.  Kristine Nielsen, impervious to a life beyond work, children, and God, is her roommate, who finds employment at a shoe factory, as did Tom Wingfield and Williams himself. Annette O’Toole hopes for upward social mobility and a clothes brush, no matter how rigid she must be to obtain them.  Polly McKie, virtually a character from Bergman, is an upstairs neighbor, unable to speak English, haunted by the “spooks” of her dead family. 

A Lovely Sunday for Creve Coeur may be the last time Williams wrote to please anybody or in a way so recognizably comparable to his acclaimed previous work—but perhaps, he also felt he must start renouncing himself. Two of the plays to follow would be A Recluse and His Guest, where the playwright gave up his voice to channel Isak Dinesen and the dark and disturbing The Remarkable Rooming House of Mme. Le Monde, which seems a rejection of his craft as we had come to know it, absurd and idiosyncratic; extreme and without compassion.  

Larry Feiner’s design provides dappled lighting and clashing reds for the “fiercely bright colors of the interior” of A Lovely Sunday for Creve Coeur, and Beth Goldenberg‘s costumes show period fashions of poverty and acceptability.  Austin Pendleton continues in his championship of the work of Williams, who, despite an attempt like this, realized that “there is rarely a graceful way to say goodbye.”

© 2018 by Bob Shuman.  All rights reserved.

Tennessee Williams’s A LOVELY SUNDAY FOR CREVE COEUR

Theatre at St. Clements
423 West 46th Street
New York, NY 10036

Performances until Oct 21, 2018

Tickets 

Photos by Joan Marcus (top to bottom): Kristine Nielsen, Jean Lichty, and Annette O’Toole; Annette O’Toole, Jean Lichty, Kristine Nielsen, and Polly McKie; Jean Lichty, and Annette O’Toole.

Press: JT Public Relations

WILLIAM SAROYAN 110 ·

(from Armenia, 8/31/18.)

“Although I write in English, and despite the fact that I’m from America, I consider myself an Armenian writer. The words I use are in English, the surroundings I write about are American, but the soul, which makes me write, is Armenian. This means I am an Armenian writer and deeply love the honor of being a part of the family of Armenian wrtiters.”

August 31 marks the 110th birthday anniversary of Pulitzer Prize and Oscar-winning Armenian-American writer William Saroyan.

The writer’s anniversary will see the inauguration of his house museum in Fresno. The grand opening event will be open to the public and held on the campus of California State University of Fresno.  A documentary, musical performances of songs written by Saroyan, a recitation of his writings, and remarks by the founder and board members of the foundation will be part of the event.  Two of the songs will be a debut performance, having never been played for the public.

William Saroyan was born on August 31, 1908 in Fresno, California to Armenak and Takoohi Saroyan, Armenian immigrants from Bitlis, Ottoman Empire. His father came to New York in 1905 and started preaching in Armenian Apostolic Churches.

At the age of three, after his father’s death, Saroyan, along with his brother and sister, was placed in an orphanage in Oakland, California. Five years later, the family reunited in Fresno.

Saroyan decided to become a writer after his mother showed him some of his father’s writings. A few of his early short articles were published in Overland Monthly. His first stories appeared in the 1930s.

Among these was “The Broken Wheel”, written under the name Sirak Goryan and published in the Armenian journal Hairenik in 1933. Many of Saroyan’s stories were based on his childhood experiences among the Armenian-American fruit growers of the San Joaquin Valley or dealt with the rootlessness of the immigrant. The short story collection My Name is Aram (1940), an international bestseller, was about a young boy and the colorful characters of his immigrant family. It has been translated into many languages.

(Read more)

Photo: Williamsaroyanfoundation.org

UK PLAYWRIGHTS CONDEMN BOMBING OF GAZA THEATRE ·

(Oliver Holmes’s article appeared in the Guardian, 8/16.)

Caryl Churchill and National Theatre director bemoan ‘devastating loss’ after Israeli strike

Leading playwrights and directors in Britain have severely criticised the bombing of a major cultural centre in the Gaza Strip by Israel’s air force, calling it a “devastating loss for the already isolated community”.

In a letter to the Guardian, 14 figures from UK theatre, including the director of the National Theatre, Rufus Norris, and dramatist Caryl Churchill, condemned the “total destruction” of the Said al-Mishal Culture Centre.

We condemn the destruction of Gaza cultural centre in Israeli airstrike

(Read more)

WINSTON NTSHONA, TONY-WINNING SOUTH AFRICAN ACTOR, DIES AT 76 ·

(Richard Sandomir’s article appeared in The New York Times, 8/5; via Pam Green.)

Winston Ntshona, a renowned black South African actor whose performances on Broadway in two short anti-apartheid dramas earned him a Tony Award in 1975 with his co-star, John Kani, but led to their imprisonment the next year, died on Thursday in New Brighton, a township near Port Elizabeth, South Africa. He was 76.

His death was announced by the South African State Theater in Pretoria. His son, Lawula, told the local media that he had been ill for several years.

Mr. Ntshona’s theatrical career was inextricably connected to Mr. Kani’s. Both were factory workers in the mid-1960s when they joined the Serpent Players, a mixed-race troupe that the white playwright Athol Fugard had helped form. South African blacks could not be employed as “artists” at the time, so Mr. Ntshona and Mr. Kani were classified as servants to Mr. Fugard in the identification passbooks that blacks were required to carry.

“South Africa was a strange place,” Mr. Ntshona recalled in an interview with The Globe and Mail in Toronto in 2001. “Everyone was totally oblivious to the need to express the plight of the black people. Everybody wanted to forget there was pain — they just wanted to be entertained.”

(Read more)

Photo: Channel 24

WARS OF THE ROSES: HENRY VI & RICHARD III, DIRECTED AND ADAPTED BY AUSTIN PENDLETON, AT HB STUDIO, 124 BANK STREET ·

AUSTIN PENDLETON DIRECTS AND ADAPTS A NEW STAGE VERSION OF SHAKESPEARE’s GREATEST VILLAIN IN

WARS OF THE ROSES: HENRY VI & RICHARD III

STARRING PENDLETON AS HENRY VI and MATT de ROGATIS AS RICHARD III

PERFORMANCES BEGIN AUGUST 1st at THE 124 BANK STREET THEATRE

OPENING SET FOR SATURDAY, AUGUST 4TH

Tony nominated theatre luminary Austin Pendleton directs and adapts a new stage version of Richard III, Shakespeare’s greatest villain, in WARS OF THE ROSES: HENRY VI & RICHARD III, which begins performances August 1st at the 124 Bank Street Theatre.  The play combines texts from William Shakespeare’s Henry VI Part 3 and Richard III, to create a version, which has never been seen before. The production stars Pendleton as Henry VI and Matt de Rogatis as Richard III, while giving a fascinating take on one of history’s most notorious villains. The opening is set for Saturday, August 4th at 7PM.  WARS OF THE ROSES: HENRY VI & RICHARD III will play a limited engagement through August 19th.  Tickets are $25, for tickets and further information visit www.proveavillain.com.

With the two texts combined, director Austin Pendleton’s WARS OF THE ROSES: HENRY VI & RICHARD III explains how Richard III evolved into the events that shaped his tyranny. In the text of Henry VI, Part 3, Richard performs the role of a subjugated good brother while secretly behaving with bloodthirsty abandon.  Killing Henry, Richard then declares himself severed from his family and brotherhood and stands alone in his quest for the crown.  In the text of Richard III he is now the central character of the play stopping at nothing to become king, while keeping his subjects and rivals under his thumb.

“What’s always fascinated me about Richard III is how he became to be the way that Shakespeare so brilliantly portrays him in the play named after him” says Mr. Pendleton.  “I believe the answer to all of this is clearly dramatized by Shakespeare in Henry VI, Part 3, the play that leads up to Richard III.   So when Matt de Rogatis, whose exciting Hamlet I’d seen a couple years ago, came to me with the idea of Richard III, my first thought was to align the two plays.  I am very excited about WARS OF THE ROSES: HENRY VI & RICHARD III.  With a great deal of judicious cutting we to managed to get a swift and compact script and thus we can track the development of this troubled and terrifying Richard from a young man searching for love and acknowledgement to the monster that became King Richard III,” he continued.

Joining Austin Pendleton and Matt de Rogatis in the cast are:  Jim Broaddus, John Constantine, Milton Elliott, Debra Lass, Johanna Leister, Rachel Marcus, Pete McElligott, John L. Payne, Carolyn Groves, Greg Pragel and Michael Villastrigo.

Lighting is designed by Steven Wolf and “Project Runway’s” Maya Luz is the costume consultant.

Austin Pendleton’s Broadway directing credits include Spoils of War, The Little Foxes  (Tony Nomination), John Gabriel Borkman, The Runner Stumbles and Shelter. Off-Broadway, he has directed Hamlet, Ivanov, Three Sisters (Obie Award) and Uncle Vanya (CSC), Vieux Carre, and Toys In The Attic (Pearl) Fifty Words (MCC) and Between Riverside and Crazy.  He directed the London production of Detroit at the National Theatre and has directed many productions regionally including Say Goodnight Gracie at Steppenwolf, and Fathers and Sons, Beach House, The Master Builder, Miss Julie and The Dance of Death at Long Wharf. As a playwright, he has written Orson’s Shadow, Uncle Bob and Booth. He has most recently appeared in New York in Dress of Fire, City Girls and Desperados, Delta in the Sky With Diamonds, The Workshop, Consider the Lilies, The Sea Gull and King Lear.  He made his NY debut in 1962 in Oh Dad, Poor Dad …, directed by Jerome Robbins, In 1964 he made his Broadway debut, again directed by Mr. Robbins, as Motel the Tailor in the original cast of Fiddler on the Roof.  Since then he has appeared on Broadway under the direction of Alan Arkin in Hail Scrawdyke (Clarence Derwent Award); Mike Nichols in The Little Foxes in a cast which included Anne Bancroft, George C. Scott, Margaret Leighton, Beah Richards, E.G. Marshall, Maria Tucci and Richard Dysart; Morton da Costa in Doubles; James Lapine in The Diary of Anne Frank with Natalie Portman and Linda Lavin.  Next season he will appear in Choir Boy at MTC on Broadway.  Off-Broadway he appeared in the title role in The Last Sweet Days of Isaac and won an Obie Award.  He has appeared in about 250 movies, including “My Cousin Vinny,” “What’s Up Doc,” “Wall Street 2: Money Never Sleeps,” “The Front Page,” “Catch -22,” “The Muppet Movie,” “Mr. and Mrs. Bridge” and “Short Circuit.”  He wrote the libretto for A Minister’s Wife.  Mr. Pendleton is the recipient of the 2007 Drama Desk Special Award as “Renaissance Man of the American Theatre”

Matt de Rogatis was most recently seen as Roy in the critically acclaimed Off-Broadway revival of James McLure’s Lone Star at the Triad.  Before that, he played Frederick Clegg in the American premiere of The Collector at 59E59 Theaters and the title role of Hamlet at the 13th Street Repertory Theatre. Other New York Credits include The Elephant Man in The Exhibition, Charlie Gordon in Flowers for Algernon, Stanley Kowalski in A Streetcar Named Desire, and Ken in Red, which was revived and uniquely staged in Chelsea at The Jim Kempner Fine Art Gallery.

The playing schedule for THE ROSES: HENRY VI & RICHARD III is as follows: Wednesdays through Saturdays at 7PM, with Sunday matinees at 3PM through August 19th.  There is one Saturday matinee on August 4th at 2PM.   Tickets are $25 and can be purchased by visiting  www.proveavillain.com

Photo: de Rogatis and Pendleton: Chris Loupos.

Press: Glenna Freeman PR.

EDINBURGH INTERNATIONAL FESTIVAL, 2018:  ‘FIVE TELEGRAMS’ ·

Full versions below (from Edinburgh)

(BWW News Desk, 8/4/18.)

The Edinburgh International Festival 2018 opened tonight with the Aberdeen Standard Investments Opening Event: Five Telegrams.

15,000 free tickets to the epic outdoor digital and live performance were snapped up by audiences joining the International Festival for its annual opening event.

Anna Meredith composed the 25 minute work structured in five movements, each one focused on an aspect of communication during World War One, with some surprising similarities drawn to contemporary communication. Collaborating closely with Meredith, Richard Slaney of 59 Productions created and directed the multi-media show with spectacular light and projections mapped onto the façade of Usher Hall.

The first movement Spin, explored the disparity between reality and public communications and the impact of that distorted reality during the First World War. Vivid colours created ribbons which spiralled over the building fusing into a hypnotic clock ticking away to the relentless building score by Meredith. The words Brave, Magnificent, Success and Increase flashed up faster and larger before spiralling out of control.

Performers emerged scattered among the audience in the second movement, Field Postcards, echoing the voices of the young men writing home from the Front. The movement opened with strands of fiery light running up the front of Usher Hall flowing in a rich and gentle wash of voices and music into words from telegrams – I am well, I am wounded – layered across the building to the emotional and poignant score.

(Read more)

STILL DREAMING: SHAKESPEARE WITH SENIORS (SHAKESPEARE UNLIMITED) ·

Listen 

(via Pam Green)

In 2011, Ben Steinfeld and Noah Brody, co-directors of New York’s Fiasco Theater, were invited to an assisted living facility and nursing home just outside New York City to work with its residents on a production of A Midsummer Night’s Dream. Because it was the Lillian Booth Actors Home—a facility filled with retired singers, actors, dancers and musicians—Ben and Noah expected to work with a group of seasoned Broadway professionals. While there were some, the cast they finally assembled was largely anything but. Ben and Noah were invited on this adventure by filmmakers Jilann Spitzmiller and Hank Rogerson, who turned the process into a documentary called Still Dreaming. We talk about the experience with Ben Steinfeld and Hank Rogerson.

Hank Rogerson is a filmmaker who, with Jilann Spitzmiller, produced Still Dreaming. Ben Steinfeld is co-artistic director of Fiasco Theater. He co-directed, with Noah Brody, the Lillian Booth Actors Home’s production of A Midsummer Night’s Dream. Hank and Ben are interviewed by Barbara Bogaev.