Can you tell I'm distracted these days? Mr. Griset's review in this week's Style is for "Suddenly Last Summer," not "Becky's New Car." I did get the subject of my review right, it's for "Merchant of Venice."
Also, yesterday I mentioned the video piece I did this summer but forgot the link to it.
Finally, I went to see "Cat on a Hot Tin Roof" over the weekend but haven't had a chance to write out my thoughts. It's a very good production, though, and my quickest capsule review would be: if you thought Alan Sader and Adrian Rieder were incredible in "King Lear" this past summer (which they were IMHO), they're even better in "Cat."
Showing posts with label merchant of venice. Show all posts
Showing posts with label merchant of venice. Show all posts
Wednesday, October 05, 2011
Tuesday, October 04, 2011
ArtStars, Amazing and other things that start with A
I went through the summer thinking about how crazy-busy it was, what with more shows opening in the traditional “down” time than I can remember. But now that we’re really getting into the heart of the fall, I’m realizing I had forgotten how truly crazy-busy things are once the summer’s over. Among the things to talk about:
The Dominion ArtStars awards are being handed out today, perhaps even as I write this. Arts organizations from all over the state were given recognition and cash awards as either “Shining Stars” or “Rising Stars.” Several theater companies were among the winners, including central VA’s Sycamore Rouge (congrats, kb!), Signature in NOVA, and Staunton’s American Shakespeare Center. It’s a great program that Dominion’s kicked off and I hope they keep it up.
The Amazing Raise starts tomorrow. The folks at Henley Street have been getting the word out about this. It’s an online event where leading non-profits can be awarded $10K based on donations of others. If you want to help groups like Henley Street, Gallery 5, Theatre IV, SPARC, the Cultural Arts Center at Glen Allen and others get a shot at that payoff, check out the Amazing Raise website.
My review of “Merchant of Venice” should be out today as well as Mr. Griset’s take on “Becky’s New Car.” I’m still waiting for the first words on “Suddenly Last Summer.”
Among the Broadway news is that Billy Elliot will be ending its run on the Great White Way in January.
As if there weren’t enough shows out there right now, the “Wicked” tour lands here again, opening tomorrow night. In the past two days, I’ve heard two people who I would never imagine in my life going to a musical say “I’m taking my wife to ‘Wicked.’” It reminds me of this little video piece I did out in California asking people going to “Les Mis” if they were aware of local theater. Some things never change.
I enjoyed my little online chat with James Ricks about artistic issues related to “Merchant.” It has often occurred to me that Shakespeare might lend itself better to talk-backs BEFORE the show, to allow people to get some education on the play’s background. I think it would enhance their enjoyment of a show where they are more than likely going to have trouble parsing the language, let alone separate out the social, political and metaphysical issues.
And of course finally, we have the Artsies. Please get your tickets and please come. I think it’s going to be a good time. All the pieces are in motion, the question will be whether they all fit together before next Sunday. Come and find out! Oh, and tell your friends to come too!
The Dominion ArtStars awards are being handed out today, perhaps even as I write this. Arts organizations from all over the state were given recognition and cash awards as either “Shining Stars” or “Rising Stars.” Several theater companies were among the winners, including central VA’s Sycamore Rouge (congrats, kb!), Signature in NOVA, and Staunton’s American Shakespeare Center. It’s a great program that Dominion’s kicked off and I hope they keep it up.
The Amazing Raise starts tomorrow. The folks at Henley Street have been getting the word out about this. It’s an online event where leading non-profits can be awarded $10K based on donations of others. If you want to help groups like Henley Street, Gallery 5, Theatre IV, SPARC, the Cultural Arts Center at Glen Allen and others get a shot at that payoff, check out the Amazing Raise website.
My review of “Merchant of Venice” should be out today as well as Mr. Griset’s take on “Becky’s New Car.” I’m still waiting for the first words on “Suddenly Last Summer.”
Among the Broadway news is that Billy Elliot will be ending its run on the Great White Way in January.
As if there weren’t enough shows out there right now, the “Wicked” tour lands here again, opening tomorrow night. In the past two days, I’ve heard two people who I would never imagine in my life going to a musical say “I’m taking my wife to ‘Wicked.’” It reminds me of this little video piece I did out in California asking people going to “Les Mis” if they were aware of local theater. Some things never change.
I enjoyed my little online chat with James Ricks about artistic issues related to “Merchant.” It has often occurred to me that Shakespeare might lend itself better to talk-backs BEFORE the show, to allow people to get some education on the play’s background. I think it would enhance their enjoyment of a show where they are more than likely going to have trouble parsing the language, let alone separate out the social, political and metaphysical issues.
And of course finally, we have the Artsies. Please get your tickets and please come. I think it’s going to be a good time. All the pieces are in motion, the question will be whether they all fit together before next Sunday. Come and find out! Oh, and tell your friends to come too!
Wednesday, September 28, 2011
Rosh Hashanah
Mr. Griset has added to the chorus praising “Cat on a Hot Tin Roof” with his review this week. Sycamore Rouge kicked off its season last weekend with the Langston Hughes-oriented joint, “Simply Heavenly,” that received a less than stellar assessment from Ms. Haubenstock.
The folks at Henley Street are initiating what sounds like an intriguing series of talk-backs this weekend and their “Merchant of Venice” is a great show to kick it off with. This is a show that almost demands conversation and processing. I really admire James Ricks and his company for choosing this show to produce and then really committing to a serious re-imagining of the work by placing it in a modern context.
My review in Style is going to be fairly short – once upon a time I would have had 500 to 600 words for a review. This one had to be trimmed to 350. It’s the sad reality of print journalism these days and particularly brutal when you are trying to cover any Shakespeare, let alone this Shakespeare. So I may talk about “Merchant” a couple of times in this space to flesh out some of my thoughts.
First off, it’s kind of astounding that the show will be running through the Jewish high holy days (Happy Rosh Hashanah, y’all!) The anti-Semitism in the play is bracing, there’s no getting around it. Mr. Ricks has said he has put the most clear anti-Semitic sentiments in the mouths of the lowest class characters, making the issue a bit more about class rather than overall cultural prejudice. I don’t know that this choice comes across so clearly, particularly in the modern context where, even though there are clearly class lines, we are told and taught that they don’t exist.
I also found the secondary characters laughing during Shylock’s “If you prick us, do we not bleed?” speech disconcerting. Beyond this being one of the more famous monologues in the canon, this speech is also a universal plea for understanding (and a little vengeance) on behalf of all victims of persecution. This seemed like part of the lower class idea, given that the snickerers were patrons at a bar, and as such was consistent in theory. But in practice, I simply didn’t like it.
However, on the flip side, there were many ways I thought the anti-Semitism issue was handled masterfully. Jeff Clevenger’s performance is exceptional. I saw his actions not at all as a rabid anti-Christian but as a battered individual, pushed by the last straw of his daughter’s elopement to try to exact brutal retribution against a world that had stolen his wife, employee, dignity, and finally, his daughter. Clevenger never lets you forget Shylock’s basic humanity.
Also, the infamous court scene had a significant change from the original text (unless I missed it somehow) in that Shylock was not forced to convert to Christianity, among all of the other indignities he is forced to submit to. Finally, there is the issue of Jessica. Her deportment at the play’s end is distinctly different from Jessicas I’ve seen in other productions. I won’t spoil this for you in case you haven’t seen it but it isn’t expected given her economic situation at the play’s end.
And, in the end, this is a play largely about economics, or the “commidification of relationships” as Mr. Ricks says in his director’s notes. As such, I think making Antonio into a female character is also a masterful change and one I may talk about further in another post.
But before I sign off and since I have “merchants” on my mind, I really am overdue in giving a shout out to the sponsors of the RTCC awards this year. We’ve really had a great stepping up of people in commercial ventures who are supporting the event. Among those who are helping us this year are Style Weekly magazine, which is giving us a bunch of advertising both online and in print as well as hosting the pre-event reception; 103.7 The River, a radio station guided by the fabulous Melissa Chase who has promised to put the word out about us this year; Gay RVA.com, which is also providing us with scads of online advertising; Popkin Tavern, which is hosting the pre-event reception this year; Carreras Jewelers, which of course donated the great raffle prize of a gorgeous diamond necklace; and the extremely talented Jay Paul who is once again donating his photographic services to help memorialize the event.
Given how many “merchants” we have on board this year (not to mention the non-profits also supporting us, which I will at some other point), I’m a little surprised at the somewhat anemic ticket sales so far. Are people holding out until the last couple of weeks? Or have the awards kind of run their course and the excitement has passed? I’m really curious.
Regardless, I’m still excited about the big night and, while I’ll be disappointed if fewer people come than last year, I’ll also have a better chance at going home with that little Carreras bauble…
The folks at Henley Street are initiating what sounds like an intriguing series of talk-backs this weekend and their “Merchant of Venice” is a great show to kick it off with. This is a show that almost demands conversation and processing. I really admire James Ricks and his company for choosing this show to produce and then really committing to a serious re-imagining of the work by placing it in a modern context.
My review in Style is going to be fairly short – once upon a time I would have had 500 to 600 words for a review. This one had to be trimmed to 350. It’s the sad reality of print journalism these days and particularly brutal when you are trying to cover any Shakespeare, let alone this Shakespeare. So I may talk about “Merchant” a couple of times in this space to flesh out some of my thoughts.
First off, it’s kind of astounding that the show will be running through the Jewish high holy days (Happy Rosh Hashanah, y’all!) The anti-Semitism in the play is bracing, there’s no getting around it. Mr. Ricks has said he has put the most clear anti-Semitic sentiments in the mouths of the lowest class characters, making the issue a bit more about class rather than overall cultural prejudice. I don’t know that this choice comes across so clearly, particularly in the modern context where, even though there are clearly class lines, we are told and taught that they don’t exist.
I also found the secondary characters laughing during Shylock’s “If you prick us, do we not bleed?” speech disconcerting. Beyond this being one of the more famous monologues in the canon, this speech is also a universal plea for understanding (and a little vengeance) on behalf of all victims of persecution. This seemed like part of the lower class idea, given that the snickerers were patrons at a bar, and as such was consistent in theory. But in practice, I simply didn’t like it.
However, on the flip side, there were many ways I thought the anti-Semitism issue was handled masterfully. Jeff Clevenger’s performance is exceptional. I saw his actions not at all as a rabid anti-Christian but as a battered individual, pushed by the last straw of his daughter’s elopement to try to exact brutal retribution against a world that had stolen his wife, employee, dignity, and finally, his daughter. Clevenger never lets you forget Shylock’s basic humanity.
Also, the infamous court scene had a significant change from the original text (unless I missed it somehow) in that Shylock was not forced to convert to Christianity, among all of the other indignities he is forced to submit to. Finally, there is the issue of Jessica. Her deportment at the play’s end is distinctly different from Jessicas I’ve seen in other productions. I won’t spoil this for you in case you haven’t seen it but it isn’t expected given her economic situation at the play’s end.
And, in the end, this is a play largely about economics, or the “commidification of relationships” as Mr. Ricks says in his director’s notes. As such, I think making Antonio into a female character is also a masterful change and one I may talk about further in another post.
But before I sign off and since I have “merchants” on my mind, I really am overdue in giving a shout out to the sponsors of the RTCC awards this year. We’ve really had a great stepping up of people in commercial ventures who are supporting the event. Among those who are helping us this year are Style Weekly magazine, which is giving us a bunch of advertising both online and in print as well as hosting the pre-event reception; 103.7 The River, a radio station guided by the fabulous Melissa Chase who has promised to put the word out about us this year; Gay RVA.com, which is also providing us with scads of online advertising; Popkin Tavern, which is hosting the pre-event reception this year; Carreras Jewelers, which of course donated the great raffle prize of a gorgeous diamond necklace; and the extremely talented Jay Paul who is once again donating his photographic services to help memorialize the event.
Given how many “merchants” we have on board this year (not to mention the non-profits also supporting us, which I will at some other point), I’m a little surprised at the somewhat anemic ticket sales so far. Are people holding out until the last couple of weeks? Or have the awards kind of run their course and the excitement has passed? I’m really curious.
Regardless, I’m still excited about the big night and, while I’ll be disappointed if fewer people come than last year, I’ll also have a better chance at going home with that little Carreras bauble…
Monday, September 26, 2011
Institutional
All three of the Times-Dispatch freelancers who cover theater were busy this past weekend. Ms. Haubenstock reviewed Henley Street’s “Merchant of Venice,” Ms. Lewis took a ride in “Becky’s New Car” out at Hanover Tavern and Ms. Wren gave some context to the Mill’s “Keep on the Sunny Side.” That’s a pretty impressive flurry of theater coverage.
I’ll be offering some thoughts on “Merchant” as early as tomorrow, perhaps, but I also want to put out a quick endorsement of the local university shows. Both VCU and U of R are kicking off their seasons with extremely interesting productions, “Shakespeare’s R&J” at the former, and “Trojan Women” at the latter. The U of R show, with a cast that includes the enthralling Alex Wiles from last year’s “Arcadia” at Richmond Shakespeare, runs for a tragically short one-weekend run. If you want to get some sense of what you’ll see if you go, see this interview with the insightful and interesting Dorothy Holland.
I know it’s a crazy busy season but these are a couple of productions worth checking out. Pass on the “X Factor” (you’ve see it all before anyway) and go see one of these shows instead!
I’ll be offering some thoughts on “Merchant” as early as tomorrow, perhaps, but I also want to put out a quick endorsement of the local university shows. Both VCU and U of R are kicking off their seasons with extremely interesting productions, “Shakespeare’s R&J” at the former, and “Trojan Women” at the latter. The U of R show, with a cast that includes the enthralling Alex Wiles from last year’s “Arcadia” at Richmond Shakespeare, runs for a tragically short one-weekend run. If you want to get some sense of what you’ll see if you go, see this interview with the insightful and interesting Dorothy Holland.
I know it’s a crazy busy season but these are a couple of productions worth checking out. Pass on the “X Factor” (you’ve see it all before anyway) and go see one of these shows instead!
Friday, September 23, 2011
Sunny Side
You have to forgive me not writing (ok, you don’t have to, but I ask you to), but I’ve had so much reading to do. A review of “Keep on the Sunny Side” came out in the T-D yesterday and also in the Progress-Index (signaling the premiere I believe of actress-icon Una Harrison as a critic).
Reviews of “Cat on a Hot Tin Roof” showed up at GayRVA and on WCVE (or John Porter’s blog). JP’s rave about “Lend Me a Tenor” – complete with a general endorsement of farce -- aired last night while my “Tenor” review was oh-so-eloquently dismissed as a “book report.” Those anonymous commenters – they’re so insightful!
Also out there to read up on has been the previews of “Merchant of Venice,” which I’m looking forward to this weekend. This promises to be a production unlike any other “Merchant” you might have seen before and it’s in a new space for Henley Street, two significant endorsements for sure.
I promised to talk about “Sunny Side” but I won’t go on too much because Ms. Haubenstock expressed most of my thoughts for me. The heart of her review includes the phrases “historically interesting,” “musically delightful,” and “limp drama.” I think that encapsulates the show for me. The voices musical director Drew Perkins leads through the Carter Family canon are all excellent – I think I would have loved this show if it had been just a tribute concert. But I don’t think it works great as theater. There are a few too many “…and then this happened…” kind of transitions and not enough meaty interpersonal business to work through. This weakness was not helped on the night I saw the show (the last preview on Friday) when there were numerous lines of dialogue either dropped or repeated.
But there were unmistakably magic moments, too, most of them when stage novice Jackie Frost was given room for her voice to reach its full-throated glory. I was introduced reluctantly to old time music decades ago by my lovely wife and have since come to appreciate the simple beauty of Carter Family standards like “Bury Me Under the Weeping Willow” and “Worried Man Blues.” Most of the songs are delivered with energy and clarity by gifted musicians like Emily Cole, David Janeski and Lucas Hall. Multi-instrumentalist Ms. Cole should think about a putting a concert together; I know I’d go.
Each of the cast members has his or her strength. Mr. Hall has a great scene to really chew some scenery as Dr. Brinkley and he makes the most of it. As I’ve expressed here before, I adore Ali Thibodeau’s voice and she kicks off the show with a great take on “Will You Miss Me?” But since she’s playing one of the next generation Carters (Janette), she doesn’t get as much front-and-center performing time, which is too bad. Mr. Perkins does a fine job as the somewhat drifty patriarch A. P. Carter, though I think it’s a curious challenge to give a focused performance of a distinctly unfocused character. Still, at the show’s end, his transition into the elderly A.P. is subtle but distinct.
One of the things I will remember most about this production is the gorgeous set. Director Tom Width has outdone himself with this set design, with a big assist from Adam Dorland and his vibrant scenic backdrop, not to mention the typically lush lighting by Joe Doran. The rendering of a log cabin’s front porch looks so cozy it’s hard not to want to join the cast on stage and spend some time working the rocking chair.
Susie also mentioned “historically interesting,” and I have to admit that one of the first things I did when I got home was Google the Carter Family. It was also great to see the neat YouTube clip that Emily Cole found of the real Sara and Maybelle Carter introduced by Johnny Cash. So, while it may not have invigorated me with dramatic intensity, “Sunny Side” certainly provided some diverting songs and a sparked interest in a slice of music history.
If your bent is historic, you have two shows opening this weekend that should appeal, the previously mentioned “Merchant,” plus “Simply Heavenly” at Sycamore Rouge, which is grounded in the historically significant stories of Langston Hughes. If you just want comic drama, “Becky’s New Car” out at the Tavern may be a better choice. Regardless, there is kind of an embarrassment of riches on local stage right now. What better way to spend a rainy weekend then at a show or two, no?
Reviews of “Cat on a Hot Tin Roof” showed up at GayRVA and on WCVE (or John Porter’s blog). JP’s rave about “Lend Me a Tenor” – complete with a general endorsement of farce -- aired last night while my “Tenor” review was oh-so-eloquently dismissed as a “book report.” Those anonymous commenters – they’re so insightful!
Also out there to read up on has been the previews of “Merchant of Venice,” which I’m looking forward to this weekend. This promises to be a production unlike any other “Merchant” you might have seen before and it’s in a new space for Henley Street, two significant endorsements for sure.
I promised to talk about “Sunny Side” but I won’t go on too much because Ms. Haubenstock expressed most of my thoughts for me. The heart of her review includes the phrases “historically interesting,” “musically delightful,” and “limp drama.” I think that encapsulates the show for me. The voices musical director Drew Perkins leads through the Carter Family canon are all excellent – I think I would have loved this show if it had been just a tribute concert. But I don’t think it works great as theater. There are a few too many “…and then this happened…” kind of transitions and not enough meaty interpersonal business to work through. This weakness was not helped on the night I saw the show (the last preview on Friday) when there were numerous lines of dialogue either dropped or repeated.
But there were unmistakably magic moments, too, most of them when stage novice Jackie Frost was given room for her voice to reach its full-throated glory. I was introduced reluctantly to old time music decades ago by my lovely wife and have since come to appreciate the simple beauty of Carter Family standards like “Bury Me Under the Weeping Willow” and “Worried Man Blues.” Most of the songs are delivered with energy and clarity by gifted musicians like Emily Cole, David Janeski and Lucas Hall. Multi-instrumentalist Ms. Cole should think about a putting a concert together; I know I’d go.
Each of the cast members has his or her strength. Mr. Hall has a great scene to really chew some scenery as Dr. Brinkley and he makes the most of it. As I’ve expressed here before, I adore Ali Thibodeau’s voice and she kicks off the show with a great take on “Will You Miss Me?” But since she’s playing one of the next generation Carters (Janette), she doesn’t get as much front-and-center performing time, which is too bad. Mr. Perkins does a fine job as the somewhat drifty patriarch A. P. Carter, though I think it’s a curious challenge to give a focused performance of a distinctly unfocused character. Still, at the show’s end, his transition into the elderly A.P. is subtle but distinct.
One of the things I will remember most about this production is the gorgeous set. Director Tom Width has outdone himself with this set design, with a big assist from Adam Dorland and his vibrant scenic backdrop, not to mention the typically lush lighting by Joe Doran. The rendering of a log cabin’s front porch looks so cozy it’s hard not to want to join the cast on stage and spend some time working the rocking chair.
Susie also mentioned “historically interesting,” and I have to admit that one of the first things I did when I got home was Google the Carter Family. It was also great to see the neat YouTube clip that Emily Cole found of the real Sara and Maybelle Carter introduced by Johnny Cash. So, while it may not have invigorated me with dramatic intensity, “Sunny Side” certainly provided some diverting songs and a sparked interest in a slice of music history.
If your bent is historic, you have two shows opening this weekend that should appeal, the previously mentioned “Merchant,” plus “Simply Heavenly” at Sycamore Rouge, which is grounded in the historically significant stories of Langston Hughes. If you just want comic drama, “Becky’s New Car” out at the Tavern may be a better choice. Regardless, there is kind of an embarrassment of riches on local stage right now. What better way to spend a rainy weekend then at a show or two, no?
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