Richard III and Dem Bones

Britain Richard IIINow is the winter of our discontent made glorious summer by this hump of torque: Scholars at the University of Leicester have confirmed the above skeleton as that of Shakespeare’s most twisted, twisting villain, Richard III. (Check out the deformed spine! Kevin Spacey and the rest got it right!)

The body’s been missing since its hasty burial, but has finally been located, 500 years after the fact, under a parking lot.

I don’t know about you, but I’m already planning a trip to the grave, where I’ll kneel and whisper sweet nothings like, “Blush, blush, thou lump of foul deformity,” and “Foul devil, for God’s sake hence and trouble us not!”

P1-BJ998_Richar_G_20130118173846

photos courtesy of the University of Leicester

_________________________________
Like this? You might enjoy…
Richard and Porgy: A Tale of Two Legbraces
Sad Summer Shakespeare

About these ads

Best of 2012!

Screen Shot 2012-12-27 at 2.05.29 PM

Listmakers rejoice! It’s time for the annual “BEST OF” catalogue! Buckets of theater got produced this year, and below are the Official Theater-Words Favorites. (Some publications distinguish between “best” and “favorite.” Not here. Calling something a “best” but not a “favorite”—or vice versa—is like pretending you’re not, y’know, a subjective human being.)

But first, some preemptive thoughts: This list is heavily skewed towards off-Broadway—only two Broadway shows appear—and only three musicals were thrilling enough to make the cut. Sad times for Broadway, sad times for musicals.

But not sad times for theater! The following shows were united by a moment-to-moment vitality and artistry; they were distinguished by the imaginative ways that vitality was expressed.

(BTW, on-the-road employment being what it is, this list is weighted towards the first half of the season. Apologies to the fall, but I just wasn’t around.)


And now, in roughly descending order…

 

1. THE BIG MEAL (Playwrights Horizons)
Without a doubt the best play of the year. Both theatrical and humane, Dan LeFrank’s family drama elevated the commonplace to the level of profound, rather like that most perfect of plays, Our Town.

 

2. PIPPIN (American Repertory Theater, in Boston)
Coss your fingers, New York—ART’s Pippin is spectacular, and you’d be lucky to have it. Equal parts ear-to-ear smiles and musical theater chills, this show was the most fun I’ve had at a tuner in years.

 

3. UNCLE VANYA (Soho Rep)
A super cool, immersive set invited the audience inside the living room of this beautifully acted play. As much a “happening” as a production.

 

4. FEBRUARY HOUSE (Public Theater)
Director Davis McCallum and company turned down the volume in this intimate off-Broadway musical about art and the world, to beautiful effect. Gabriel Kahane’s score made you eager for more.

 

5. CLYBOURNE PARK (Broadway via Playwrights Horizons)
It’s all been said before, but really, this intelligent time-travelling race relations play was a blast, and featured some of the dirtiest jokes ever.

 

6. THE GREAT GOD PAN (Playwrights Horizons)
This was an odd, disarming play with a killer premise: a man learns he may have been molested as a child, but he remembers nothing. Did it happen? Does it matter? A seemingly slight play that stuck to your bones.

 

7. THE LYONS (Broadway via the Vineyard Theater)
Linda Lavin got lots of praise in Nicky Silver’s fantastic black comedy, but Michael Esper (and most everyone) was just as good. A great entertainment.

 

8. LOOK BACK IN ANGER (Roundabout Theater Company)
The claustrophobia and, yes, anger in this production were thrilling and eerie. A creative, uber-narrow set hit things home. Not a date show, to its credit.

 

9. MERRILY WE ROLL ALONG (City Center Encores!)
The Encores orchestra playing this Sondheim score was pretty unbeatable. And really—is there a better finale than “Our Time”? Not that I’m aware of.

 

10. AS YOU LIKE IT (The Public’s Shakespeare in the Park)
Daniel Sullivan’s production hit home the redemptive parts of this otherwise overproduced Shakespeare, making the play seem vital and generous.

 

So here’s to you, 2012! Glad to have you, here’s your coat, get home safe. Say hi to 2013 on the way out.

Oh, for a Muse of Pixels…

Charles Edwards and Eve Best in rehearsal for “Much Ado About Nothing”

Shakespeare is taking to the airwaves…

Not to be outdone by the National’s NTLive, the Globe Theatre in London is inaugurating its own theatrical broadcast season this fall. It’s called “Globe on Screen,” and will feature All’s Well That Ends Well, Much Ado About Nothing, and Doctor Faustus, beamed to movie theaters around the world.

NT Live has shown wonderful (if unavoidably watered down) productions, so here’s hoping Globe on Screen follows suit. As for me, I’ll be at Much Ado for Eve Best’s take on Beatrice. (Can I get an “Amen,” “Nurse Jackie” fans?)

It’s interesting how little hang up the Brits have about this theatrical broadcast thing. The National and the Globe aside, they’ve also got DigitalTheatre.com, a kind of iTunes for filmed versions of plays. Producers from the Royal Court to Sonia Friedman have shows available for rent or purchase, and while the venue (your computer screen!) isn’t ideal, it’s better than nothing.

PBS’s “Great Performances” excepted, American theater is much more strictly limited to its in-the-flesh audience. What’s behind the holdup—union craziness? inadequate funding? lack of demand? What do you think?

In the meantime, check out Globe on Screen trailer, below:

Photo by Marc Brenner

Report from the Capital

Hear ye, hear ye! I come with word from the mainland!

London, that is. New York might flatter itself the center of the universe, but it’s the British First City that can lay true claim to that most exclusive of titles: Play Capitol.

A certain kind of play, that is – one that’s smart, sharp, political, thorough, current, historical (or at least aspires to be), and comes served in plummy, accented tones which cover all manner of sins.

The most exciting, anglophilia-inducing entrée of my recent trip to England was “London Road,” a new, verbatim musical playing the National’s Cottesloe Theatre. Its subject – the murder of five prostitutes – is conventional enough stuff (!), but it’s the telling of this tale that elicits those wonderful shivers signifying the arrival of the New.

Keep Reading…

Follow

Get every new post delivered to your Inbox.

Join 483 other followers

%d bloggers like this: