The meaning and emotion are all embedded there, line for line, word for word. Shakespeare's language, after all, is lavish enough.
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Welles described his film as ''a rough charcoal sketch'' of the play, and this remark, alongside the finished picture, provoked in me a sharp suspicion that you don't need lavish production values to make a Shakespeare movie that's accessible and alive. The answer leads back to Emily Dickinson by way of Orson Welles, who conjured up a version of ''Macbeth'' in 1948, shooting for 21 days on an RKO sound stage cluttered with fantastic, soggy-looking papier-mache sets. It wasn't the first or last time I had to face the implicit question: What are we doing here? Why ''Hamlet'' - again - here and now? After the second take, one of the producers turned to me and said, ''This reminds me of 'Scooby-Doo.' '' I didn't feel insulted. We were in the lobby of a midtown bank at 3 a.m., filming that scene - you know the one - in which the ghost of Hamlet's father (Sam Shepard) appears on a surveillance monitor, prompting Hamlet's spooked pals to dash to the elevator to check it out. What happens next is the action of this very funny play, which opens this week at the Nottingham Playhouse, and Adrian talks about about how his adaptation came to be, and how many versions he's had to learn the challenges of wearing both his actor and playwright hats his successful preview at The Berko Speakeasy finding (and imitating) Bennett’s voice the value of getting microphones in the toilet the privilege of getting to sit on the other side of the table and the enormous satisfaction of challenging one's self to come up with the goods.IF I feel physically as if the top of my head were taken off,'' Emily Dickinson once said, ''I know that is poetry.'' Two-time Olivier Award winning actor Adrian Scarborough has written The Clothes They Stood Up In, an adaptation of the novella of the same name by Alan Bennett (The Madness of King George, Talking Heads, The History Boys, and The Lady in the Van), about a mild-mannered couple (played by Adrian and Sophie Thompson) who return home from the opera one evening to find their flat completely bare and every single item they own stolen. (Length 21:40) (PICTURED: Ayanna Bria Bakari and Jane Ladymore in the Timeline Theatre Company’s production of Tyla Abercrumbie’s Relentless, at the Goodman Theatre, directed by Ron OJ Parson.) Tyla talks about her play came to be what inspired it but also (more importantly) what motivated it how her acting informs her writing her goals for a large canon the joy of costumes, both wearing them and writing for them the fun of doing it the way Shakespeare did it and how disparate ideas come together as if they were meant to be – which they probably were. Relentless tells the story of two sisters who return to Philadelphia in 1919 to settle the estate of their mother and make family discoveries that change their knowledge of the past and will possibly determine their future. Tyla Abercrumbie is an actor, director, and playwright whose play Relentless was produced by Chicago's Timeline Theatre Company, called "The best new work here in years," by the Chicago Tribune, then subsequently presented by the Goodman Theatre. (Length 21:40) (PICTURED, clockwise from top left, the six "text detectives" from Season One of Owning Shakespeare: Isabel Adomakoh Young, Austin Tichenor, Miguel Perez, Debra Ann Byrd, Paterson Joseph, and Adjoa Andoh.)
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Rob's a wonderful guide, and he joins us to discuss how the podcast came together how the RSC's Austin Tichenor was a briefly unwitting test subject what this and future seasons will accomplish how he blushes at praise for his knowledge of Shakespeare and skills as a director the joy of taking both Shakespeare and actors off pedestals how a rushed rehearsal process led to a kind-of triage of Shakespeare the importance of demystifying the idea that actors are only using “intuition ” how to avoid "impenetrable babble " the value of showcasing the new generation of Approved Shakespeareans and the hoped-for possibility of getting an Avenger on Season Two. The first season of Rob Myles' extraordinary Owning Shakespeare podcast is now available on all the usual platforms, and it's a fantastic collection of six noted Shakespeare actors tackling (in real time) a speech they've never looked at before, and sharing their process, stumbles, and successes with the listener. Buy TicketsĪddress: 10075 Commons St, Lone Tree. Buy TicketsĪddress: 400 Robinson St, Basalt. Buy TicketsĪddress: 2310 Colts Neck Rd, Reston. Buy TicketsĪddress: 2401 N Main St, Fort Worth. Buy TicketsĪddress: 25 Carlisle St, Gettysburg.
Tour: The Complete History of Comedy (abridged)Īddress: 403 S. Tour: Hamlet’s Big Adventure! (a prequel)Īddress: 750 E Shaw Ln, East Lansing.
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