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Author Topic: Theater Review | 'Iphigenia 2.0': Way Before Lindsay and Britney, Chaos Swirled Around Iphigenia  (Read 232 times)
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« on: August 27, 2007, 01:09:57 AM »

Theater Review | 'Iphigenia 2.0': Way Before Lindsay and Britney, Chaos Swirled Around Iphigenia


Charles Mee?s proudly unfaithful and rather tedious version of Euripides? ?Iphigenia at Aulis,? brings a tabloid style to Greek tragedy.


http://theater2.nytimes.com/2007/08/27/theater/reviews/27iphi.html?ex=1345867200&en=ee7a915c7df51733&ei=5088&partner=rssnyt&emc=rss
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qpowellx
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« Reply #1 on: April 03, 2008, 12:33:56 PM »

I am going to New York next week.  What's good to see? Quill
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madupont
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« Reply #2 on: April 04, 2008, 12:56:46 AM »

qpowellx

I posted these or some announcement thereof as soon as the Terence Howard role leaked out.  From then on, it was anybody's guess. In between, "everyone" was worried as to who would be playing Maggie,the cat?  Now, they are still worried whether it is played right or not?

Then finally James Earl Jones was announced for Big Daddy.  Because I'd seen him on stage years ago,as Paul Robeson, I didn't know why that I had not thought of him immediately in this role; every bit as apropos today, as Burl Ives was back then. Besides, I was too young "back then" to get the full lesson of this little drama.  When you are young, it is a boring play; even Paul Newman is boring.  When you've been there, done that, you see it quite differently.

A couple of weeks ago, I saw  Ms. Rashad in a televised production of Sean Combs prior Broadway produced remake of: Raisin in the Sun. So, in this case, Phylicia Rashad has just gone from extremity to the other,authentically late 1950s-early 1960s Chicago to some more current confabulation of somewhere that used to be Mississippi but in terms of now.


http://www.nytimes.com/2007/11/09/theater/09arts-CATFINDSAROO_BRF.html

http://www.nytimes.com/2008/02/23/theater/23cat.html


http://www.nytimes.com/2008/02/24/theater/24simo.html?pagewanted=1

Will post some more article headings--links, in the daylight hours, that are more current.
« Last Edit: April 04, 2008, 12:59:48 AM by madupont » Logged
madupont
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« Reply #3 on: April 06, 2008, 12:46:42 PM »

Admin,

You'll love this: "This is an outrage. Tennessee Williams must be turning in his grave." – Theatre director Brian Timoney, on hearing that pop star Britney Spears has been lined up to play Blanche DuBois in a West End production of A Streetcar Named Desire. (Sunday Express)

I'm going back to read the Sunday Express!

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madupont
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« Reply #4 on: April 06, 2008, 01:06:55 PM »

http://www.express.co.uk/posts/view/40385/Should-Britney-play-boozy-Blanche-in-West-End-

Interesting but whether he went a bit far or is just using good professional theatrical judgement in banning her from  attending(not allowing her into the opening night performance) his other Tennessee Williams production and thus, using it for publicity for herself in connection with the playwright's name, I can not say.
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madupont
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« Reply #5 on: April 06, 2008, 01:17:41 PM »

This is who the director is casting in the role that Brando made famous or vice-versa, the role that made Brando famous.
http://www.imdb.com/name/nm0935653/

I suppose it works. John Malkovich has worked with him in the Italian directed production of what I call,"Ripley grows up". I really do believe that Malkovich builds on what Matt Damon left behind or Ripley as a young man and bit of a rapscallion who will kill you if you get in his way.
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madupont
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« Reply #6 on: May 08, 2008, 10:58:20 AM »

A LEAP FROM THE METHOD:
An Organic Approach to Acting

Author: Rich, Allan

Review Date: APRIL 01, 2008
Publisher:AuthorHouse (164 pp.)
Price (hardback): $24.95
Publication Date: January 11, 2007
ISBN (hardback): 978-1-4208-2223-6
Category: AUTHORS
Classification: NONFICTION

Respected character actor and stage coach reinterprets Stanislavsky’s Method for a modern audience.

Rich, a Los Angeles personality with a long career in show business, re-envisions the actor’s craft, offering practical advice to those that aspire to the stage and screen. With short, vivid chapters, Rich succinctly dispels with the notion that performers must have a natural talent to succeed—plenty of hard work, a willingness to defer to the playwright and the courage to dig deep into a role to discover the central truth of a character will do in its absence. Rich pokes holes into Konstantin Stanislavsky’s psychological approach to acting that asks a performer to search for personal memories to add emotional resonance to a performance. He suggests instead that the actor must not reproduce, but reinterpret a role when playing it night after night. The basis of Rich’s new, simplified approach is the philosophy that an actor must search the text for insights into the character rather than rely on their own past experiences. To be economical on the stage and not rely on physical movement are also important elements to an effective performance, as is the discovery of the essence of the character’s behavior. Rich offers practical recommendations that run from knowing the entire play in order to understand the playwright’s intentions to never sleeping with your leading man or lady, lest the intensity of the stage romance be diminished. A quick autobiographical narrative kicks off this charming, informative manual. The author recounts his early Broadway appearances and the crisis of confidence that led to several lean years and a midlife career as a businessman and art dealer with an itch to return to the stage. Unfortunately, a last section filled with testimonials on the effectiveness of Rich’s method and gaudy plethora of celebrity photographs distract from the polish and professionalism established by the author’s instructive theories.

Great advice from a show-business veteran.
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