Showing posts with label in the mediterranean. Show all posts
Showing posts with label in the mediterranean. Show all posts

5/22/2012

The Taming of the Shrew (Broadway Theatre Archive) (1976) Review

The Taming of the Shrew (Broadway Theatre Archive)  (1976)
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Riveting high energy interpretation of one of Shakespeare's more problematic comedies. The director's decision to present this somewhat sexist comedy as an over-the-top commedia dell'ate production was brilliant. Patruchio's use of physical violence to tame his headstrong finacee is somehow made tolerable because all the relationships in this play are embued with violence. And like characters in a Roadrunner cartoon, victims bounce back with vigor and always manage to give as good as they get. The troupe is incredibly in sync with one another, highly athletic, and incredibly gifted at reciting their iambic pentameter flawlessly while being twirled overhead or kicked in the groin. It really has to be seen to be believed. And who knew Marc Singer, the Beastmaster, could act?! In the end, he brings a subtlety to his part that leaves you wondering who's taming whom?
Harold Clurmann's interview with the director is a nice DVD extra.

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5/02/2012

Julius Caesar Review

Julius Caesar
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Much better than the earlier Julius Caesar, which starred Marlon Brando as Mark Antony and James Mason as Brutus. In this version, Jason Robards as Brutus is admittedly an embarrassment, but the rest of the cast is quite strong. The delivery of Antony's funeral oration by Charlton Heston is brilliant, powerful, well-paced, the dramatic high point of the movie. Richard Johnson as Cassius, John Gielgud as Caesar, Robert Vaughn as Casca and Diana Rigg as Portia are fine actors, with full dramatic presence, at home in Shakespeare's language. Brief parts, like the soothsayer's and the cobbler's, are memorably played. The screenplay omits two short passages that are important to the plot: (1) Cassius' avowal in the first act, after his attempt to persuade Brutus to oppose Caesar, that if their positions were reversed and he, Cassius, stood as well with Caesar as Brutus does and Brutus made a comparable appeal to him, he would certainly not listen. (2) Immediately after the assassination, a promise by Brutus to Antony's servant of safe conduct for Antony, who thus knows when he comes to the Capitol and weeps over Caesar's body, challenging the conspirators to kill him also, that he is in no danger of their doing so.

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2/25/2012

The Typists (Broadway Theatre Archive) Review

The Typists (Broadway Theatre Archive)
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Saw this show years ago on TV when it was first shown. Enjoyed it then for its excellent performance by great actors. The story interesting as the characters age before your eyes throughout the show. Great actors, interesting script and a real jewel of a performance.

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2/02/2012

Shakespeare - The Winter's Tale / Royal Shakespeare Company, Barbican Theatre Review

Shakespeare - The Winter's Tale / Royal Shakespeare Company, Barbican Theatre
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This filmed stage recording is indeed magical. I believe a former critic's particular critique in this regard should be regarded in the light of two distinguishing characteristics of Shakespeare on film: whether the production is a film interpretation or a filmed stage production. This DVD is the latter: over-the-top FX, panoramic view and the like don't necessarily apply. Here one has the magic of being in the audience at a grand performance of the Royal Shakespeare Company, with the added pleasure of being granted close-ups! The acting is all-around sublime, especially Ian Hugh's Autolycus; I've yet to see a rogue interpreted better.
For a contrast of what can be accomplished with Shakespeare as film interpretation versus filmed stage production, compare Orson Welles' Othello with Richard Burton's Hamlet (both available through Amazon); both, I believe, are the ideal of each venue.

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1/10/2012

The Shakespeare Collection: The Taming of the Shrew Review

The Shakespeare Collection: The Taming of the Shrew
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If this was just about the Stratford production, I'd have put 5 stars, no hesitation--it's a joy to watch. But the box doesn't even tell you it's Len Cariou as Petruchio. On top of that, the tapes are reproduced at EP/SLP, and they *still* use two tapes for a roughly three hour presentation!! If you can't stand not owning this, go ahead and blow the money, but otherwise wait until a better quality tape or DVD comes out. Same goes for the other tapes in the collection.

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1/06/2012

Six Characters in Search of an Author (Broadway Theatre Archive) (1976) Review

Six Characters in Search of an Author (Broadway Theatre Archive)  (1976)
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This was a famous (and somewhat erudite) stage play meant for 1920's audiences that was a landmark work from the "Theatre of The Absurd". This DVD presents a very unusual but great version of this play, changing the situation from a stage to a Hollywood Television studio where actors are gathered to perform a rehersal. Suddenly the professionals are interrupted by six characters who claim that they are part of a work of an author who never completed their story and are seeking to have their much more interesting drama performed. (We never know whether they really exist at all) The director, (John Houseman) listens to a very convincing arguement from "The Father" (Andy Griffith)who presents his case as to why their "play" must be done and incredibly they dominate the action from this point. There are some real surprises here! Good direction by Stacey Keach. An appearance by his son James Keach as "The Son". A unique turn in making part of the drama involve interracial romance (a major step in 1976) and perhaps the biggest stunner of all, Andy Griffith as "The Father" proves that he is more than just a simple country bumpkin sheriff in a departure from his usual nice guy roles. Of course everyone gives away the era in which this was made in dress and hairstyles (1976) but it is still an unusual and intelligent adaptation of the classic absurdist play that is worth your time and investment.

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Luigi Pirandello's modern classic, starring Andy Griffith in a brilliant departure from his television persona as a country sheriff, along with Academy Award-winner John Houseman (The Paper Chase), is directed by Stacy Keach, who has transposed the play'straditional theatrical setting to a television studio. As a group of actors prepare for a rehearsal of a TV adaptation of another Pirandello play --The Rules of the Game--the television monitors in the control booth give way to an electrical interference which inexplicably replaces the images of the actors with the images of six mysterious strangers. These are the "six characters" of the title who appear in the flesh in the studio to confront the director and actors with the proposition that their story is more interesting than the play at hand. They gradually take over the stage to act out their story, each character representing a different point of view. A groundbreaking work that has exerted considerable influence on 20th-century drama. With Andy Griffith, John Houseman, Julie Adams, Beverly Todd, and James Keach.

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12/31/2011

Oedipus Rex (1957) Review

Oedipus Rex (1957)
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This version of "Oedipus Rex" is Sir Tyrone Guthrie's famous 1957 production, which had the actors wearing masks just as the ancient Greeks did when first performing this classic tragedy by Sophocles. The masks, designed by Tanya Moisewitsch and Jacqueline Cundall, are slightly oversized and quite stylized: Oedipus (Douglas Campbell) wears a gold mask with a crown atop and a golden cloak; blind Tiresias (Donald Davis) appears entirely in white; each of the members of the chorus has a distinctive mask as one of the old men of Thebes. As befits the masks and costumes, there is a stylized formality to the acting. No one would argue that this is how the play was first performed in ancient Athens but it does suggest the general approach to Greek tragedy.
The story is well known to most audience, but attention should still be paid because the key to the Sophocles version of the tale is that the prophecy from Delphi that was told to the king and queen of Thebes is not the same that was told to Oedipus years later. A plague has come to Thebes and Creon (Douglas Rain) has returned from Delphi with word from Apollo. Creon is the brother to Jocasta (Eleanor Stuart), wife of Oedipus the king as she had been the wife of king Laius before him. He reports that the gods are angry that the murderer of Laius has not been brought to justice. Oedipus vows to do so and utters a curse upon the unknown killer. But when Oedipus demands that Tiresias reveal the identity of the killer, the blind prophet of Thebes says the king is the very man he seeks. Thus the primal crime of the man who killed his father and married his mother is reveal step by tragic step.
The English translation is by the poet William Butler Yeats, which provides its own touch of the classical for the language of the play, which has been cut down to 90 minutes for this filmed version (which is essentially of the stage production); there is also so additional dialogue, primarily an introduction by the Chorus that provides an introduction to Oedipus as the hero who bested the Sphinx and saved Thebes. There is also an introduction by an actor before the play that explains the basic idea of Greek tragedy and also draws a connection between the story of Oedipus and the Christian sacrament of communion. I like a more naturalistic approach, even with Greek tragedies, but there is something compelling about this particular production. Because this is a streamlined version of "Oedipus Rex," viewers will get a good idea of the basic structure of a Greek play, and at 90-minutes in length you can show the film in two standard class periods.
Final Note: The part of the Priest in this Canadian production is played by a very young William Shatner, not that you can tell because he is wearing a mask. This is rather ironic given that the world would come full circle when a painted William Shatner/Captain Kirk mask was used by Michael Myers in the original "Halloween" film, which would sort of be a contemporary Greek tragedy in a lot of ways.

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12/13/2011

Out of Our Fathers' House (Broadway Theatre Archive) (1978) Review

Out of Our Fathers' House (Broadway Theatre Archive)  (1978)
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This 70s production was enlightening, and it took me a couple of views to grasp the characters identities. The play, done in a nonconventional format, is about six women with remarkable and notable lives during our history. The six women come together to share their thoughts, dreams, struggles, bravery, movements, privileges, hardships, etc.
The storyline is based on a book by Eve Merriam, Growing Up Female in America (Beacon paperback). Although the book has 10 women, only 6 are present for the play. The title, From Our Father's House, theme derives from the clutches of their father, imposed or instilled. Better yet, the play is not hand-written; the text generates from the works of their journals, letters, diaries, etc. The six women who come together, take turns sharing and listening to one another are...
Dr. Anna Howard Stern (1847-1919), the first ordained women's preacher, doctor and leader of the sufferage movement. Listen, as she determined she overcame her father's message that reading was a waste of time, and she would make nothing of her life. She chose the pulpit over her own family.
Maria Mitchell (1818-1889), the first professional astronomer, whose father was an astronomer. She learned all about astronomy, but at that time, experienced that it was not as valued by the public for a woman with that knowledge.
Elizabeth Southgate (1783-1909), a young girl of privilege, went to finishing school, adored and respected her parents. She writes about finding the right man, marrying, becoming sick, (presumably TB). She died in her mid 20s. There is an interesting collection of her letters available in book form. A Girl's Life Eighty Years Ago: Selections From The Letters Of Eliza Southgate Bowne (1887).
Elizabeth Gertrude Stein (1890-1950), writer, journalist, feminist, shares when husband became sick, she worked in a department story, had a promotion, then went back home. Later, she became a profitable writing earning much.
Elizabeth Cady Stanton (1815-1902), founder of the Women's Suffrage movement. She tells of her age at 12, when her brother in college died, and how he was the pride of her father's heart. She tried to match up to being a male, learning Greek, Latin, etc. Struggling to do it, her father said, "you should have been a boy!"
"Mother" Mary Jones (1830-1930), prominent labor organizer and powerful voice of the underprivileged. Wonderful story telling about her child labor movement. The most mature actress portraying Mary Jones has done a superb job.
Enjoyable, informative, educational, hear the voices of the past, similar to the present.....Rizzo


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11/17/2011

Romeo & Juliet (1993) Review

Romeo and Juliet (1993)
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As other people have observed about other videos in this collection, this isn't high quality in terms of the video tape. But the performance itself, which is basically a tape of play is a sound version of Romeo and Juliet. This time, they set it in more modern times, ladies are in evening dresses for example, but the dialogue is unchanged really. There are some good and not so good performances. The leading man does a good job as Romeo, though I prefered his dramatic scenes to his romantic ones. I felt the leading lady was very finicky in the role and very dramatic, perhaps too dramatic. She didn't seem to me like a teenager. Otherwise, Juliet's father and Romeo's best friend Mercutio I believe are both splendid. If you are just interested in viewing different Romeo and Juliet videos, this is fine, but the other versions, the 1960's version, the 1930's version and even the newer version are just as good or better in other ways. I've watched them all, and this version does hold up to the others, more or less

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9/18/2011

The Merchant of Venice / Trevor Nunn, Royal National Theatre (2004) Review

The Merchant of Venice / Trevor Nunn, Royal National Theatre (2004)
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If you are a fan of The Merchant of Venice but were disappointed by Al Pacino's Shylock this DVD may be for you. Henry Goodman brings a grounded and passionate honesty to the role that Pacino sorely lacked. Although, I was not impressed by David Bamber as Antonio (boring) or Derbhle Crotty as Portia (lacking any real substance; Raymond Coulthard as the Prince of Arragon is historical and steals his scene. The show worked better on stage than it does as a filmed version but it is still well worth a viewing.

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William Shakespeare's controversial classic comes to bristling life in this riveting production from theater legend Trevor Nunn. Relocated to Europe between the two world wars, the story follows the misadventures of young heiress Portia, who must don the disguise of a male lawyer to save the life of her love, and the financially obsessed Shylock (Notting Hill's Henry Goodman), determined to literally collect a pound of flesh in court. Trevor Nunn directed the landmark revival of Rodgers & Hammerstein's Oklahoma! with Hugh Jackman as well as groundbreaking versions of Nicholas Nickleby, Othello, and Porgy & Bess. Originally presented to tremendous acclaim at the Royal National Theatre in June, 1999. Awards include: Olivier Awards - Best Actor (Henry Goodman) / Critics' Circle Theatre Awards - Best Actor (Henry Goodman)

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