Julius Caesar

Posted: November 8, 2013 | Author: | Filed under: Drama, Off-Broadway, Play, Shakespeare | Tags: , , , , | 1 Comment

Julius Caesar

I was very excited to see the all-female production of Julius Caesar at St. Ann’s Warehouse, directed by Phyllida Lloyd and brought over from the Donmar Warehouse (a fantastic theatre in London). I know that sentence sounds like a set up for the show being disappointing. And it wasn’t, but at the same time, I also wasn’t as blown away as I’d hoped to be. Perhaps I went in with expectations too high. This happens to me more often than I’d like.

But after thinking it over since this particular Halloween outing last Thursday, I think the underlying issue is that I am simply not a big fan of the play. Is that sacrilegious to say, Shakespeare fan that I am? Caesar has never done much for me as a reader or audience member. I’ve been trying to figure out why, and I keep coming up relatively empty. Is it because I have trouble relating to the story? Do I not sympathize with any of the characters? Unclear.

Given that the story bores me, this production did a pretty decent job of holding my attention. First off, it is set in an all-female prison #orangeisthenewblack. The audience is escorted by extremely stern guards (ushers) into a sterile prison of pipes and scaffolding and lectured about how to behave before being led to our seats. I love this kind of thing – immediately transporting us into a new environment and setting the scene before we even take our seats.

These (very talented) women tell the iconic story that we know so well, straying only occasionally from the classical text for a handful of contemporary references (e.g. the prophecy of Caesar’s demise is a Libra horoscope). They have a fantastic grasp of the language, and they also stick to all of the original pronouns, referring to each other as men. This is typically a very male-heavy show, but it should be noted that the power or strength of that overwhelming testosterone is not lost with this cast.

Lloyd plays with the location and convention of the prison throughout but not as much as I would have liked. These were the moments that particularly grabbed me and made me sit forward in my seat – the recognition and awareness of the surrounding reality, like in Alan Cumming’s Macbeth. If anything, this switched things up from the standard plot. Whether or not the play does anything for me though, the cast is fantastic, and you get the feeling when the show ends that there is still more story to be told.

Fun side note: I should mention that at one point during the show, during the big senate scene I believe, all of a sudden I noticed someone sitting upstage in one of the chairs. After a little while, I thought to myself, is that person a part of the show? That doesn’t look like a woman. Yup, that’s a man…holding a program – an audience member who somehow managed to take a seat within the set and then sat there for close to 15 minutes, from Caesar’s death scene (spoiler alert) up through Mark Antony’s huge monologue. He was practically one of the conspirators. Hi-larious.

Julius Caesar
Written by William Shakespeare, Directed by Phyllida Lloyd
St. Ann’s Warehouse through November 9th
Photo Credit: Helen Maybanks
Pictured: Harriet Walter

Love’s Labour’s Lost

Posted: August 17, 2013 | Author: | Filed under: Comedy, Musical, Off-Broadway, Shakespeare | Tags: , , , , , , | Leave a comment

It’s an odd thing. Sometimes it looks like everything’s been done just right: a talented cast, creative director, nice set, beautiful park, some laughs. And yet I walked away from Love’s Labour‘s Lost feeling unaffected. I sat there wishing I was laughing as hard as the people around me, but instead I felt like a bystander, observing from the outside of the Delacorte.

The very simple plot (I’m serious, there’s nothing to it) follows three men and their king who all take an oath to give up life’s pleasures and withdraw from society for three years in order to dedicate their time to their studies. In this contemporary adaptation, these men make this promise at their five-year college reunion, and in addition to rejecting women, they give up beer, bongs, porn, the list goes on. Of course, then four women from their pasts arrive, and we know this oath isn’t going to last too long, thereby making us doubt the weight of their oaths made later to love and stay committed to these women.

That’s it. That’s the plot. The women disappear for like, half of the show. There are random other characters who pop up for a few minutes here and there purely for comic relief.

So what left me feeling so untouched you ask? I’m honestly still in the process of figuring out a concrete answer. This is the second of two Shakespeare in the Park productions this summer, and it is very much a modern adaptation. It’s been turned into a musical, with a new score and adapted book by Michael Friedman and Alex Timbers. Purists, be warned: the original Shakespeare text has been left in the dust. When it does crop up (rarely), it is brief before the songs take over again or more contemporary exchanges take its place.

I don’t mind modern versions of Shakespeare plays; in fact, I encourage them and love to see new approaches. But I did have a hard time with how little original text was used. I kept wondering why they even bothered to keep it. As a result, the jokes felt thin to me. They were easy laughs because it’s funny to juxtapose Shakespeare against a profanity or colloquial phrase. He said the f-word! Such a novelty! But why not only have a couple moments like that and then work to find what’s funny in the original material? Why are extravagant, flamboyant costumes necessary to get laughs? Shakespeare gives us all that we need. I don’t know, maybe I am a purist, but I think if you’re going to change the play to that degree then leave it behind entirely, instead of just referencing it when it’s convenient.

Some will argue that this production makes Shakespeare relatable for a modern audience, but I don’t think all of the hoopla is necessary. People continue to attend Shakespeare in the Park, not only because it’s free, but because Shakespeare remains relatable and entertaining even today. As I exited the park, I found myself thinking about Joss Whedon’s recent film, Much Ado About Nothing. This was a fully contemporary approach to Shakespeare, but the text remains, the comedy reads, and an audience packed with Avengers, Buffy, and Firefly fans connected to it and found themselves enjoying (and understanding) a Shakespeare play thanks to this medium.

This production left me thinking: are any of these choices justified? Most of the “bits” felt random because they knew they would get laughs. The songs make up the majority of the play, but they felt put on and not fully earned by these characters. I like this composer; I’m a big fan of Bloody Bloody Andrew Jackson (the same creative team). But except for “Love’s a Gun” (sung by the always-amazing Rebecca Naomi Jones) and a couple of other fun numbers, the music didn’t add to my experience.

Please don’t get me wrong; this is a wonderfully talented cast including Daniel Breaker, Colin Donnell, Jeff Hiller, and Rachel Dratch, not to mention director Alex Timbers whom we all know I love (see my Here Lies Love review). But this comedy felt mapped out. There are some genuinely funny and surprising moments. I just wish the rest of it had been as genuine.

Love’s Labour’s Lost
Written by William Shakespeare, Song by Michael Friedman, Book Adapted and Directed by Alex Timbers
Delacorte Theater, Shakespeare in the Park 2013
Photo Credit: Joan Marcus
Pictured: Bryce Pinkham, Colin Donnell, and Lucas Near-Verbrugghe

So You Want to See Sleep No More?

Posted: July 24, 2013 | Author: | Filed under: Off-Broadway, Play, Shakespeare, Tips | Tags: , , , , | Leave a comment

Odds are by this point you’ve heard about Sleep No More. It’s been quite the sensation in NYC. What started as a super limited engagement over two years ago is still running to sold-out houses. I’m here to tell you to catch it before it’s gone. As far as interactive, theatrical experiences go, this is top-notch and one of the coolest nights at the theatre I’ve ever had. If you choose to go, it’s good to be prepared so below is my list of tips to fully enjoy the evening.

But first, a few words on what Sleep No More actually is. It’s a Punchdrunk production – a British company known for their interactive, site-specific theatre. A warehouse in the meat-packing district has been turned into this 1920s dark, creepy hotel called the McKittrick. There are five floors and countless rooms. The audience moves through the space freely wearing white masks. Meanwhile, the performers also run around from room to room (without masks so you know who to watch). It’s primarily a dance piece, and through movement, they tell the story of Macbeth. Very little is spoken, it’s super avant-garde, and like nothing you’ve ever seen before.

Okay, my suggestions. Go.

-Review Macbeth. If you don’t know the play, read it first or get an idea of the synopsis and characters. This will be helpful when you catch a scene out of context, but at the same time, don’t worry if you don’t know what’s going on or who someone is. Just enjoy the performances!

-Wear comfortable shoes. And dress comfortably, not too heavy. It’s hot in there.

-Check everything when you arrive. Really. Don’t carry a bag, phone, purse, loose change, etc. You don’t want to worry about that stuff when you’re running around in the space.

-Follow your instincts. If you’re bored or want to check something else out, go somewhere else. That’s why the show is brilliant. You can do whatever you want; you create your own unique experience. No two people have the same night at the theatre.

-On that note, if you go with someone, I highly encourage you to split up. This way you can truly follow your gut and do what you want. You’ll likely run into each other throughout the evening anyway.

-The whole show loops three times except for the finale so you very well may see something twice. If you happen upon a scene you’ve already seen, you don’t necessarily have to immediately ditch. You could follow a different actor at the end of that segment.

-It might be a while before you find an actor when you first enter the space. My first time it took me 40 minutes, and my second time I practically ran into one right when I walked in. As soon as you see someone without a mask, follow! Run if you’re up for it!

-I know there are a lot of cool rooms, props, and keys. Enjoy this and feel free to explore, but don’t get obsessed. I know someone who sat in a room and waited for ages, sure that something would eventually happen, and another friend who found a key and spent the entire show trying to find what it opened. The details are fun and you should definitely look around, but don’t dedicate your evening to them.

-Hydrate! I suggest checking a water bottle with your stuff so you have it to drink afterward.

-Wear a watch so you can head to the ballroom at the appropriate time for the finale. If it’s a 7pm show, head over around quarter to 10pm. This is the one thing you want to plan on. Get as close to the long table as possible.

Above all, I would say be ready to adapt. I wouldn’t go in with a plan; it’ll likely just backfire due to crowds or getting lost and you’ll end up being disappointed. I’ve talked to a lot of folks who have been worried that they’re going to miss something. Honestly, that’s the nature of the show. You are going to miss things; you can only be in one room at a time. But who knows what you’ll get to see?

With or without these tips, you’re going to have an excellent, one-of-a-kind evening. Tickets are expensive, but man, is it worth it.

Sleep No More
A Punchdrunk Production, Directed by Felix Barrett and Maxine Doyle
McKittrick Hotel through February 16th
Photo Credit: Yaniv Schulman
Pictured: Matthew Oaks

Macbeth

Posted: June 19, 2013 | Author: | Filed under: Broadway, Play, Revival, Shakespeare | Tags: , , , , | Leave a comment

It’s hard to believe Alan Cumming wasn’t nominated for this performance. What a feat. The entire production, really, is quite the endeavor. I imagine most of you know Macbeth from reading it in school, or maybe you saw Patrick Stewart in it a few years ago, or you saw the dance film noir version still playing at the McKittrick Hotel (a blog post on Sleep No More to come in the future), but you’ve almost certainly never seen all the roles played by one guy in a room. So I say again, it’s hard to believe Alan was not recognized for this tour de force. True, not all of the show was successful; I was definitely in and out of it. But when I was in, I was in.

We began with a mental hospital of sorts; light green tiles cover the walls instead of the expected white. The only inhabitants are spare cots, a sterile sink, a few chairs, a metal staircase leading up to the keypad exit, and a bathtub. An observation window lurks high above on the back wall. The lights go out and we’re immediately hit with powerful sounds, static and something like Morse code. It’s like a bad connection on a submarine or when you’re stuck in between radio stations, and it creates a super creepy vibe, particularly juxtaposed with the opening actions on stage. The sound keeps the conversation muted as two attendants check in a new patient (Cumming). They scrape underneath his fingernails, swab his cheeks, give him a shot, and collect his clothing for evidence. The man is clearly affected, traumatized. He sits, stunned, fresh bloody scratches across his upper chest, clutching one particular bag of evidence which he refuses to have taken from him. All of this business takes several minutes. I loved that they took the time to set the mood. The attendants finish up, lay him down to sleep, and depart.

And then the Shakespeare text begins. This lost man is suddenly swept up in the story of Macbeth, and his conviction skyrockets as he jumps from character to character, starting with the three weird witches right up through Macbeth’s bloody end. The script has been cut down to focus on only the major roles (Macbeth, Lady Macbeth, Banquo, Macduff, Duncan, etc). We enter the secret corners of this man’s mind as he transforms his asylum into a feast, a castle, the woods, the king’s bedchamber, and so on.

The real joy is watching Cumming switch characters in the blink of an eye. You never doubt for a second which person he is portraying at that moment. There are physical cues and even props at times, but his physicality shifts so effortlessly that they can practically be deemed unnecessary. He can get a laugh before he even speaks. During an intimate scene between Macbeth and his wife, I actually felt like I should turn away and give them some privacy.

I would say if you have the chance, check it out before it closes July 14th. Not all of the piece is as engaging as one would hope; there is a lot of text to cover and the play runs approximately 1 hour 45 minutes. I admit I found myself bored at times, but when certain scenes click, it’s extremely captivating. Only a handful of clues are sprinkled throughout about who this man might be. The audience gets to walk away speculating, filling in the back-story for themselves. By the conclusion, we have acted as bystanders to a human being falling apart at the seams. No matter how many characters he may have shared with us, he remains one heartbroken man, trapped indefinitely in his own mind and with his own crimes.

Macbeth
Written by William Shakespeare, Directed by John Tiffany and Andrew Goldberg
Ethel Barrymore Theatre
Photo Credit: Jeremy Daniel
Pictured: Brendan Titley, Alan Cumming, and Jenny Sterlin

The Comedy of Errors

Posted: June 5, 2013 | Author: | Filed under: Comedy, Off-Broadway, Play, Shakespeare | Tags: , , | Leave a comment

Fortune smiled upon me last week when I won the virtual lotto to Shakespeare in the Park’s The Comedy of Errors. For those of you who haven’t heard of Shakespeare in the Park, every summer The Public Theater produces two shows (not necessarily Shakespeare) at the Delacorte Theatre in Central Park, and admission is free! The location is stunning with the view of the park beyond the stage and Delacorte Castle suspended above. I won the lottery because it was the first preview, not to mention the terrible weather forecast for the evening. Despite the imminent rain, I was ready to enjoy myself and ended up being able to do so under clear skies!

I listened to the hoppin’ sound of swing music as I entered the space (prepped with napkins to dry my chair). The pre-show had dancers performing some great choreography, and I was happy to see them return for all of the scene transitions. The Delacorte stage has once again been transformed, this time into a local market street. Three buildings (which rotate!) of bright pastel colors have a great flat effect, resembling the buildings you might see at Universal Studios. I loved them, and they were a cute, efficient way to keep up with the constant new settings in this town of identicals.

The Comedy of Errors is one of Shakespeare’s very early works; it’s his shortest play and in my opinion a little scattered. I like to think it’s foreshadowing for all of his later, stronger work. It’s like a first draft for Twelfth Night, or…what you will (that’s a lame joke for the Shakespeare nerds). Two sets of identical twins, separated at birth, find themselves traipsing around the same town. Antipholus and his servant Dromio arrive in Ephesus where their twin brothers live (also named Antipholus and Dromio of course). The new-in-town brothers start to cross paths with families, wives, and fellow villagers, and hilarity ensues as the endless accounts of mistaken identities pile up.

Which brings me to my main complaint about the play itself: it just consists of one running punch line – the same gag over and over. But luckily, we have Hamish Linklater (Antipholus) and Jesse Tyler Ferguson (Dromio) to take us on this ridiculous journey, so frankly, no one cares that the plot is full of the same silly stunts. These two, alongside the rest of this great cast, excel at keeping it fresh. I jump at the chance to see either of these actors perform live. I have had the opportunity to see both of them tear up the Delacorte with laughter in previous years – Hamish in Twelfth Night and Jesse in A Midsummer Night’s Dream. They are hilarious comedians and watching them work together and adjust to the mishaps and slip-ups of the first preview made it even funnier.

Now, I have only seen this production one other time, a couple summers ago, and in that version, two similar looking pairs of actors played the Antipholus and Dromio roles. This allows for the big finale scene typical of Shakespeare comedies: true identities are revealed, all the lovers are matched up, and everyone goes home happy. In this production, Hamish and Jesse play both twins within their respective pairs. As wonderful as it is to see more of Hamish and Jesse, I’m not sure if the final scene works as is. I think the audience is forgiving of the awkward staging, but I’m partial to the big reveal of the two sets of twins. It’s such a great pay-off! Maybe this version’s ending would have bothered me less if they had embraced the joke about the lack of another set of twins throughout the piece and not just played toward the inevitable problematic ending…but I digress.

Despite the tricky ending and repetitive plot, it’s always a hoot to watch actors have so much fun. Thank you clouds for sparing us and keeping the stage relatively dry for this incredibly game, talented cast. I’m sure the piece will only get tighter, sharper, and funnier.

The Comedy of Errors
Written by William Shakespeare, Directed by Daniel Sullivan
Delacorte Theater, Shakespeare in the Park 2013
Photo Credit: Joan Marcus
Pictured: Emily Bergl, Brian T. Lawton, Heidi Schreck, Jesse Tyler Ferguson, Rachel McMullin, and Hamish Linklater

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