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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.

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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.

SIR ANTHONY HOPKINS: “MOST OF THIS IS NONSENSE, MOST OF THIS IS A LIE.” ·

(Miranda Sawyer’s article appeared in the Guardian, 5/26; via Pam Green.)  

For anyone who looks toward their later years with trepidation, Sir Anthony Hopkins (“Tony, please”) is a proper tonic. He is 79, and happier than he has ever been. This is due to a mixture of things: his relationship with his wife of 15 years, Stella, who has encouraged him to keep fit, and to branch out into painting and classical composition; the calming of his inner fire, of which more later; and his work.

Hopkins loves to work. Much of his self-esteem and vigour comes from acting – “Oh, yes, work has kept me going. Work has given me my energy” – and he is in no way contemplating slowing down. You can feel a quicksilver energy about him, a restlessness. Every so often, I think he’s going to stop the interview and take flight, but actually he’s enjoying himself and keeps saying, “Ask me more! This is great!”

We meet in Rome, where he is making a Netflix film about the relationship between the last pope (Benedict) and the current one (Francis). Hopkins is playing Benedict, Jonathan Pryce is Francis. He is enjoying this – “We’re filming in the Sistine Chapel tomorrow!” – and we are both relishing the lovely view across the city from the penthouse suite in the hotel where he’s staying. Still, he declares that the film we are here to talk about, the BBC’s King Lear, filmed in England and directed by Richard Eyre, is the piece of work that has made him truly happy. “I felt, ‘Yes, I can do this.’ I can do this sort of work. I didn’t walk away. And it’s so invigorating, because I know I can do it, and I’ve got my sense of humour, my humility, and nothing’s been destroyed.”

(Read more)

Photo: The Guardian

METROPOLITAN DIARY: A SHARK, 60 YEARS LATER ·

(Ronnie Lee’s letter appeared in The New York Time, 5/14; via Pam Green.)

Dear Diary:

It has been just over 60 years since “West Side Story” opened on Broadway with me as one of the Sharks. I was 19 when rehearsals began.

I had already worked for Jerome Robbins in the original Broadway productions of “The King and I” (as Crown Prince Chulalongkorn) and “Peter Pan.” Working on “West Side Story” was the best of times and the worst of times — the most challenging choreography and, emotionally, the most ego-deflating, at the hands and tongue of that master torturer, Jerry Robbins.

Photo: Times Square Chronicles; Theater Pizzazz (Carol Lawrence and Ronnie Lee)

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TOM MURPHY, REST IN PEACE (1935-2018) ·

(Peter Crawley’s article appeared in the Irish Times, 5/16.)

Murphy gave the Irish canon a series of masterpieces. Peter Crawley assesses his drama

In 2006, during a public interview, Tom Murphy enumerated the three most common questions asked of a playwright: How do you write a play? What’s your play about? Where did you get the idea?

In his meticulous manner of speaking, lending unhurried emphasis to each word, he chose to answer the list in reverse.

“Where did you get the idea?” he began. “I think you might as well say, ‘Somewhere between heaven and Woolworths.’ Which is quite true. What’s the play about? I’d say a reasonable answer is to say, ‘My life.’ It’s not just an autobiographical thing, but it’s how I would apprehend life and in the course of creating a play to transcend that self and move it into art.”

He turned again to the first question – How do you write a play? – and answered, without a trace of flippancy, “I don’t know.”

Over the course of his long and distinguished career, one that gave the Irish canon a series of masterpieces, Murphy found a different answer to the question each time. “The most distinctive, the most restless, the most obsessive imagination at work in the Irish theatre today is Tom Murphy’s,” said Brian Friel, in 1980, before Murphy’s career had reached its midpoint, and the achievements of these two distinctly different artists became comparable.

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Photo: Irish Times

ST LAZARE/BECKETT: ‘HERE ALL NIGHT’ (SV PICK, IE)  ·

(Peter Crawley’s article appeared in The Irish Times, 4/17.)

“I’ll fix their gibberish for them,” says the speaker of Beckett’s Unnamable, in a defiant mood, even as his mind is slowly dissolving into nothing. “I never understood a word of it in any case…”

The reader of Beckett’s prose works will know something of the feeling, alternately enthused, amused, bewildered and worn into submission by the onslaught of absurdist verbiage. Here All Night, Gare St Lazare’s interdisciplinary bricolage of prose, music, installation art and performance, decides instead that the words are neither gibberish nor fixed; finding in their collaboration the permission to jam.

To some extent you can read the results – fractured and spliced, ascetic and experimental – as Modernism: The Opera. The centrepiece on a bare dark stage is a sculptural installation by the artist Brian O’Doherty, in which a petrified body is suspended, supine, mid air, like someone laid to rest in a display case. That this artwork has been shucked from its original context is more methodology than sin: the production is all about reappropriation.

(Read more)

 

 

SIR BEN KINGSLEY, EARLE HYMAN, LIEV SCHREIBER, JAMES EARL JONES, STACY KEACH, ESTELLE PARSONS, AND OTHERS TALK ABOUT SHAKESPEARE ·

(from the Folger Shakespeare Library; via Pam Green.)

How Shakespeare Changed My Life

Shakespeare Unlimited: Episode 95

Hear Sir Ben Kingsley, Earle Hyman, Liev Schreiber, James Earl Jones, Stacy Keach, Estelle Parsons, and others open up about their experiences with Shakespeare’s plays. Actor/director Melinda Hall interviewed these actors (and others), as well as writers, directors, linguists, and even a Holocaust survivor for her web-video series How Shakespeare Changed My Life. On this podcast episode, Melinda talks about the origin of the series, what she’s learned from it, and where it’s headed. She is interviewed by Barbara Bogaev.

AT FIRST PERFORMANCE OF ‘MY FAIR LADY,’ THE DRAMA WAS OFFSTAGE ·

 

 

(Charles Rizzo’s article appeared in The New York Times, 4/13; via Pam Greedn.)

NEW HAVEN — The snow was coming down. The turntables didn’t turn. The star refused to perform. The cast was dismissed, thinking that that night’s show would not go on.

Yet “My Fair Lady” opened improbably, triumphantly, to its first paying audience on that Saturday, Feb. 4, 1956, at the Shubert Theater here, making the night the stuff of theater legend.

Continue reading the main story

 

ROGER HENDRICKS SIMON TALKS WITH TANIA FISHER: 40 YEARS OF THE SIMON STUDIO (Part 2) ·

Tania Fisher interviews Roger Hendricks Simon

You have an impressive list of celebrity students, or those that you’ve directed–Do you experience any major differences or difficulties working with acting students who might be new to the industry?

The difference is how to integrate them into the company.  Working with a big name you deal with what they offer you–they might want to be just a regular name in the cast. Others want to be treated as special.  You have to be aware of who you’re working with and be able to deal with them accordingly.

When I worked on Oliver Stone’s movie “Wall Street 2” as Bernie Jacobs, I was sitting at the same table as Michael Douglas, Josh Brolin, Shia LaBeouf, and Frank Langella.  We all sat around a table reading and working on the material, and we were all equal.  All they wanted from me was for me to do my job and all I wanted from them was for them to do their jobs.  Oliver (Stone) would give notes; we’d read it again.  The only difference between that project and doing the same work on an off-Broadway production was the tray of Nova Scotia salmon!  Really good actors when they’re working–that’s what they do.

The kid that’s new doesn’t have training or experience–and is working with those that do–is at a disadvantage unless he understands that he can learn from them.  He can get in there and be at the table with them.  It’s more than just having talent.  That’s why you have to train and gain experience.  Someone who’s just talented and not experienced is at a disadvantage–they have to be confident and look like they belong there at that table, and try not to look green.

There’s that old saying “Those that can, do, those that can’t, teach.”  But you seem to be constantly doing both; acting and directing in movies and plays. Where do you find the energy for all of this?

I hated that expression and that was always my fear because I always had a passion for teaching.

But I also felt it was totally unfair to great teachers, even those who were not practitioners, because there are some teachers who are not practitioners.  I just preferred those who were working at the same time.

When I come in to the Studio I’m excited to teach what I did that week—regarding my experience as a director, what I professionally experienced that week. I’m eager to share it and that to me is exciting.  If I was a student, I would want my teacher to come and share with me his experience of what he just got off the set doing.

My teaching reminds me how to do what I’m doing, and it’s keeping me fresh.  The ideas that I’m coming up with, as a teacher and sharing with my students, I’m also sharing with myself—I’m reminding myself that’s what I need to do in the other work that I’m currently involved with.  I learn a lot from my students, too, and from the directors and writers in the studio.  They’re giving me things I can use as a teacher, as well as work with professionally.

I’ve had the privilege of sitting in on one of your classes and I was overwhelmed by the real feeling of respect and genuine support your students have for each other.  How do you manage to manifest that kind of comradery in such a competitive and ego-driven field?

I really work hard at that.  I do know how it happens.  It happens through hard work to try and make it personal with everybody there, and that’s very exhausting, but it’s a positive exhausting, although you have to like it.  Everybody there is actually special.

I happen to think that what we do is very important. I also think, OK, we don’t save lives, doctors save lives, but someone once said to me we do.  If you go to the theater or the movies and come out with an exhilarating feeling, you’re saving a life.  It’s what we do.  It’s what we do as actors and writers.  What we do is a healing thing: mentally, physically, and spiritually and therapeutically.  The whole act of doing what you love:  your joy, enlightening people–that’s special.  You are blessed that you have the talent to do it and thankful that you have the opportunity to do it, but on the other hand, it’s not nuclear science, it’s not medicine.  So part of the atmosphere is it has to be fun, joyous.  It has to be enjoyable and always to be full of pain or suffering.

In terms of the atmosphere, it’s hard work to get a balance–sometimes there’s too much fun going on!  You need to be relaxed to work, and it’s important to create a relaxed atmosphere, but not too relaxed, so people are  able to work.

What do you want your students to get out of your classes?

A respect for the kind of work that goes into what we do. A love of the work that we do.  An excitement, I guess, of what we can potentially do.  An awareness that much of what we do is not always fun–it’s not always even going to be good.  Usually, it’s more likely that it’s not going to be that good because a lot of people expect a great life for actors and envisage it’s all about having fun and parties, and I want people to come out of the studio realizing it’s hard work and frustrating at times; it’s not always going to be smooth. It’s going to be rocky, uneven–it’s going to have some difficult moments.

I want them to come away with respect–just like everything else, any work is not always going to be fun, even if you have a passion for it.  It’s not always going to be glamorous; very few people will end up making a real living from it, so you have to come away just loving the process.  In the end, if you don’t love the process of it, you’ll quit–because the rewards often don’t come.  You have to love it or you’ll be disillusioned.  I like my students to appreciate a realistic point of view–it’s not just an art, it’s a business.  It’s mostly a craft, and it’s mostly a business and very little of that pertains to true art.  The real art is the icing on the cake.

Roger Hendricks Simon is the Artistic Director and Founder of The Simon Studio.  For more details and class information contact Roger direct.   Ph: 917 776 9209 or email rhsstudio@gmail.com

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(c) 2018 by Roger Hendricks Simon; edited by Tania Fisher.  All rights reserved.  Photos courtesy of the Simon Studio and Tania Fisher.

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