'NELLA TEMPESTA' FROM MOTUS THEATER COMPANY (REVIEW PICK, NY) and more...


'NELLA TEMPESTA' FROM MOTUS THEATER COMPANY (REVIEW PICK, NY)

 

(Ben Brantley’s article appeared 12/12 in The New York Times.)

You can talk all you like about ideals and class resentment and visions of the future. But the ingredient most essential to getting a revolution off the ground is energy, the kind that incinerates as it moves. And the place you’ll find the highest concentration of that precious entity is in the restless bodies of the young.

Judged by these criteria, the Motus Theater Company of Italy is the most truly revolutionary troupe in town. Seen to scorching effect in 2012 with “Alexis. A Greek Tragedy,” which translated the rage of Sophocles’ defiant Antigone into the 21st century, Motus is now channeling the pent-up lifeblood of two slaves out of Shakespeare’s “The Tempest,” chafing at their bondage to an imperial magician named Prospero

(Read more)

http://www.nytimes.com/2014/12/15/theater/motuss-nella-tempesta-evokes-shakespeares-stormy-play.html?_r=0

Visit Stage Voices Publishing for archived posts and sign up for free e-mail updates: http://www.stagevoices.com/ .  If you would like to contribute a review, monologue, or other work related to theatre, please write to Bob Shuman at Bobjshuman@gmail.com .

     

MICHAEL FEINGOLD: WHY SHOWS CAN BE--BUT SHOULDN'T BE--WALKED OUT OF

  

(Feingold’s article appeared on Theatermania, Dec 12, 2014.)

Reflections on theatrical turkeydom in last month's Thinking About Theater had already started me recalling shows I'd walked out of, over the decades. And just when an article entitled "Confessions of a Broadway Bolter" appeared, occasioning a lot of online discussion. In it, an entertainment reporter admitted to having seen only the first act of a great many shows she was covering. The controversy peaked with a stinging reply from a theater publicist in which he complained, with some justification, about the waste of thousands of dollars in free tickets lavished on a person who treated them so cavalierly.

The author seems to have made a pretty extensive habit of leaving Broadway shows early, and the range of her mid-work departures was wide, encompassing musicals, dramas and comedies, homegrown work and prestigious imports alike, with zero regard for star power, degree of significance, or popularity. She notes virtuously that she stayed, enraptured, all through two exceptionally lengthy works, both of which I happen to regard as pretty paltry (though I stayed through both of them too), and boasts proudly of having remained on her feet through two entire performances of Here Lies Love (which I also enjoyed, though from a sitting position above the action).

(Read more)

http://www.theatermania.com/new-york-city-theater/news/staying-power-and-the-power-to-leave_70933.html

Visit Stage Voices Publishing for archived posts and sign up for free e-mail updates: http://www.stagevoices.com/ .  If you would like to contribute a review, monologue, or other work related to theatre, please write to Bob Shuman at Bobjshuman@gmail.com .

     

HOW ‘THE INTERVIEW GOT MADE’: A TIMELINE

(Nate Jones’s article appeared in Vulture, 12/18; via Pam Green.)

On Wednesday, Sony canceled the theatrical release of The Interview after hackers linked to North Korea threatened violent reprisals against any theater caught screening the film. It was an unprecedented step, made all the more bizarre by the fact that the film at the center of the mess was just a goofy comedy from the guys who made This Is the End. How did two stoner comedians end up at the center of a serious geopolitical incident? Here's a timeline:

Some emails have been edited for spelling and clarity.

Around 2010
Seth Rogen and his writing partner Evan Goldberg start knocking around an idea for a movie about a journalist who’s tasked with assassinating a foreign dictator. "I feel like it's a conversation a lot of people have," Rogen tells Rolling Stone later. "Like, 'Oh, Barbara Walters could have killed Bin Laden,' or whatever." Rogen and Goldberg eventually decide to set the film in North Korea, and hire former South Park writer Dan Sterling to work on the script. At this point, the team is unclear if the North Korean dictator in the film should be Kim Jong-il or a fictional counterpart called Kim Il-hwan.

December 17, 2011
Kim Jong-il dies in real life. (The culprit is a heart attack, not James Franco.) He's succeeded by his son Kim Jong-un; Rogen, Goldberg, and Sterling decide to table the dictator discussion until they can get a sense of the younger Kim's character.

(Read more)

http://www.vulture.com/2014/12/how-the-interview-got-made-a-timeline.html?mid=imdb

Visit Stage Voices Publishing for archived posts and sign up for free e-mail updates: http://www.stagevoices.com/ .  If you would like to contribute a review, monologue, or other work related to theatre, please write to Bob Shuman at Bobjshuman@gmail.com .

     

KRISTIN CHENOWETH AND PETER GALLAGHER SING "I'VE GOT IT ALL" FROM ‘ON THE TWENTIETH CENTURY’

(from Theatremania; via Pam Green.)

Watch the pair tunefully spar before catching them onstage at the American Airlines Theatre.

Kristin Chenoweth and Peter Gallagher are returning to Broadway in a revival of the classic Cy Coleman, Betty Comden, and Adolph Green musical On the Twentieth Century at the American Airlines Theatre. In anticipation of this production, which sees the pair following in the footsteps of Madeline Kahn and John Cullum as Lily Garland and Oscar Jaffe, TheaterMania was invited into the recording studio as Chenoweth and Gallagher laid down a promotional version of the great first-act number "I've Got It All." Check out their version of the tune in this video.

http://www.theatermania.com/video/exclusive-video-kristin-chenoweth-and-peter-gallag_707.html/

Visit Stage Voices Publishing for archived posts and sign up for free e-mail updates: http://www.stagevoices.com/ .  If you would like to contribute a review, monologue, or other work related to theatre, please write to Bob Shuman at Bobjshuman@gmail.com .

     

BEST THEATRE 2014, UK (ALFRED HICKLING)

 

(Hickling’s article appeared in the Guardian, 12/18.)

  1. Sea Breeze Winter Gardens, Morecambe
  2. Raw Material: Llareggub Revisited Laugharne, South Wales
  3. Memories of August 1914 Liverpool
  4. Beryl West Yorkshire Playhouse, Leeds
  5. Kes Crucible, Sheffield
  6. Dead Dog in a Suitcase Everyman, Liverpool
  7. Queen Coal Crucible, Sheffield
  8. The Crucible West Yorkshire Playhouse, Leeds
  9. Krapp’s Last Tape Crucible, Sheffield
  10. Monday’s Child Theatre Royal, York

(Read more)

http://www.theguardian.com/stage/2014/dec/18/alfred-hickling-top-10-theatre-shows-2014

Visit Stage Voices Publishing for archived posts and sign up for free e-mail updates: http://www.stagevoices.com/ .  If you would like to contribute a review, monologue, or other work related to theatre, please write to Bob Shuman at Bobjshuman@gmail.com .

     

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