REVIEW: Hamlet 2
“My life is a parody of a tragedy!”
Hamlet 2 takes the conventions of “inspirational teacher movies” such as Dangerous Minds and Dead Poet’s Society and turns them on their head in a delightfully funny way. In this film instead of being the saving grace of a group of misguided students, the teacher Mr. Dana Marschz is a loser with a capital L. He is a failed actor turned high school drama teacher who can’t get a good review in the school newspaper to save his life. His home life isn’t much better. He can’t get his wife pregnant, he can’t afford a car, and he has some serious unresolved daddy issues.
In this amusing and charming parody the only saving grace Mr. Marschz seems to have is two devoted drama students, Rand and Epiphany who are stereotypical theatre pupils. Rand is an effeminate closeted homosexual, who also happens to be slightly homophobic (classic “Me thinks thou doth protest too much” syndrome.) Epiphany is the archetypal obnoxious ingénue who doesn’t seem to understand the concept of subtly in acting. Former high school drama students can certainly find themselves reminded of individuals from their own theatre departments that seemed to always get cast despite their lack of talent. A good life lesson: it pays to be teacher’s pet.
Due to some extenuating circumstances this trimester’s drama class is full! Not just full, but full of Hispanic kids which their new teacher assumes are underprivileged and troubled. (In actuality, one of the young men’s, Octavio, father has a Ph.D. in Literature and lives in a rather nice home.) Marschz manages to get on the new students’ good side with some rather unconventional and inappropriate, although comedic tactics such as taking them out to a mall arcade and hitting one of the girls in his class with a trash can to teach them about “shared experience.”
Predictably, the school principle announces the drama department is being cut due to funding (a rather relevant subject in Texas right now, no?) and it is now the kids’ mission to Save Drama! Mr. Marschz writes Hamlet 2, a sequel to the bloody Shakespearean tragedy full of time travel, sexual innuendo and even the return of Jesus Christ. Of course the school won’t allow them to put the show on, but the kids step up to make it happen ironically with hardly any help from their director.
Here is where the big flip comes. Eventually Dana Marschz decides it is time to give up on the project, resigning himself as a washed up actor with nothing good going for him. The students give him the inspirational speech about not giving up on their dreams.
The play goes on and is as ridiculous as it has sounded up to this point. The main number of the show, “Rock Me Sexy Jesus” is hilarious combination of Grease, Godspell and Rent and manages to offend and entertain simultaneously.
The movie ends with Mr. Marschz and students on Broadway with their gem of a show.
“It doesn’t matter how much talent we lack, as long as we have enthusiasm!”
This fantastic cast of actors certainly are not lacking in talent. British actor Steve Coogan makes an amusingly clueless Mr. Marschz and delivers the most outrageous of lines with an expert dead-pan sensibility. The charming, young cast of drama students works as a strong ensemble to fill out the story. Phoebe Strole is an adorable and obnoxious Epiphany with a surprisingly good singing voice. Skylar Astin shines with his fully committed depiction of the gay suck-up Rand and has an impressive stage presence that is obvious even on film. Playing herself, Elisabeth Shue is simply delightful on screen and is more than willing to poke fun of herself, which is almost always endearing in celebrity.
Andrew Fleming steers this big, absurdly funny spoof with a great sense of youthful fun that is equally as charming as the cast.
The design elements of the movie are spot on. Particularly effective are the sets for the plays being shown. The Eric Brockowich set, for example, is convincing as a high school set. The same can be said for the costuming of the play parts. The Hamlet 2 (the play) set, lighting and other technical aspects are very impressive considering they have been put together by a bunch of high school students. The play’s design elements are the quality of a full Broadway production, which while unrealistic, adds to the folly of both the play and the film.
While Hamlet 2, the movie, may not be everyone’s cup of tea, this theatre lover likes it more every time she watches it!
Wednesday, May 13, 2009
Monday, April 27, 2009
Project #5: Teaching
Basic Requirements for Teacher Certification in Texas
You must have a bachelor's degree from an accredited college or university.
You must complete teacher training through an approved program.
You must successfully complete the appropriate teacher certification tests for the subject and grade level you wish to teach.
Training Program for "Alternative" Certification
Programs for those who already have a college degree (alternative certification and post-baccalaureate programs). These programs, which include accelerated routes into teaching, offer training on how to be an effective teacher, as well as additional courses you might need in the subject area you wish to teach. Many of these programs can be completed in a year, during which time you may have a paid teaching position in a public school classroom.
You must have a bachelor's degree from an accredited college or university.
You must complete teacher training through an approved program.
You must successfully complete the appropriate teacher certification tests for the subject and grade level you wish to teach.
Training Program for "Alternative" Certification
Programs for those who already have a college degree (alternative certification and post-baccalaureate programs). These programs, which include accelerated routes into teaching, offer training on how to be an effective teacher, as well as additional courses you might need in the subject area you wish to teach. Many of these programs can be completed in a year, during which time you may have a paid teaching position in a public school classroom.
Project #5: Graduate School
Yale School of Drama
M.F.A Program for Stage Management Description:
This rigorous interdisciplinary curriculum consists of a balanced combination of required courses which provide a wide range of knowledge and training essential for today’s professional. In addition to the classroom requirements, students are assigned each year to stage management positions for Yale School of Drama and Yale Repertory Theatre productions that reflect progressively increased responsibilities throughout the plan of study. While the program is structured to prepare the student for work in the commercial and regional theatre, it also provides a strong basis for learning a variety of artistic skills and managerial tools essential for employment opportunities in different entertainment areas such as touring, dance, opera, event management, and industrials. Workshops, seminars, and lectures by noted professionals provide an essential component in the course study.
Application Requirements:
An applicant to the Stage Management department should have an undergraduate concentration in theatre studies or an equivalent in practical experience. The Admissions Committee reviews all applications and qualified candidates are scheduled for an in-person interview upon the receipt of the completed application. For the interview, an applicant should bring a prompt book, production book, or similar material to support his or her candidacy.
In general, an applicant submits the following materials:
application form
current resumé
statement of purpose
application fee
three letters of recommendation except for Design (set, costume, and lighting)
one official transcript from the undergraduate institution granting the bachelor’s degree
GRE scores (general test) required only for Dramaturgy and Dramatic Criticism, Stage Management, Technical Design and Production, and Theater Management
TOEFL (iBT) if first language is not English or if applicant has graduated from a non-English speaking institution
University of Nevada, Las Vegas
M.F.A Program in Stage Management Description:
The curriculum in stage management reinforces the importance of a broad base of knowledge by requiring studios in directing, technical direction, scenery, costumes, and/or lighting. Other aspects of management are also covered, including production management, company management, and front-of-house administration.
Emphasis is also placed on management within the larger entertainment industry through a liaison with the UNLV's internationally recognized School of Hotel Administration. Opportunities for stage management exist in all theater venues as well as dance and music. Training culminates in a stage management assignment with the Nevada Conservatory Theatre.
Application Requirements:
In addition to Graduate College admission requirements applicants to the MFA program in stage management should submit to the department several pages from a sample prompt script including forms, reports, or breakdowns (cannot be returned). An interview with stage management faculty will be scheduled after application materials have been received.
Also:
1. An official transcript from all postsecondary institutions
attended, showing an undergraduate degree in theatre
and the date awarded. (An acceptable alternative
undergraduate major coupled with satisfactory practical
experience in theatre may be deemed equivalent to an
undergraduate major in theatre.)
2. A written statement (500 words or less) of the applicant’s
purpose in pursuing graduate study.
3. Two letters of recommendation sent by former instructors,
employers, or other professionals who can evaluate the
applicant’s potential to complete graduate study.
University of California, Irvine (This one sounds the best to me!!)
M.F.A. Program for Stage Management Description:
Graduate stage managers at UCI work with directors, choreographers, musical directors, and designers in various genres including drama, musical theatre, dance, opera, concerts and special events. Each graduate student will stage manage or assistant stage manage seven productions. Additionally, students gain exposure to industry professionals who are invited to the campus or who are visited on field trips throughout the Southern California area.
Students organize and participate in a series of collaboration and production meetings for each production assignment. In addition to the supervision of performers, they interview and select assistants for each production as well as supervise running crews, which can number up to 60 students. In turn, professional faculty and staff mentor graduate stage management students throughout every phase of production.
In the classroom, students pursue the art and science of stage management via a theme for each quarter. These include: Entertainment Law, Directing for Stage Managers, The Science and Art of Cue Calling, about Equity, Self Marketing, Psychology for Stage Managers, Production Management, Special Event Management, and Music and Dance Production. Training is provided not only in the specialized area of stage management but also in dramatic literature, the development of theatre, concepts and collaboration, and script analysis. These courses help stage management students to communicate effectively with all members of the production team on a professional level.
Application Requirements:
To apply to the M.F.A. program in Stage Management a completed application and $70.00 fee is required. All graduate applications are submitted electronically and must be supported by appropriate academic transcripts and three letters of recommendation, which should be mailed to the Drama Department separately.
For Stage Management applicants, the GRE exam is not required. After we receive your M.F.A. application and $70.00 fee, our stage management faculty will contact you, if you meet their initial criteria, regarding the city and time of your audition/interview. Only persons who have submitted applications and fees can be assigned an audition/interview time.
M.F.A Program for Stage Management Description:
This rigorous interdisciplinary curriculum consists of a balanced combination of required courses which provide a wide range of knowledge and training essential for today’s professional. In addition to the classroom requirements, students are assigned each year to stage management positions for Yale School of Drama and Yale Repertory Theatre productions that reflect progressively increased responsibilities throughout the plan of study. While the program is structured to prepare the student for work in the commercial and regional theatre, it also provides a strong basis for learning a variety of artistic skills and managerial tools essential for employment opportunities in different entertainment areas such as touring, dance, opera, event management, and industrials. Workshops, seminars, and lectures by noted professionals provide an essential component in the course study.
Application Requirements:
An applicant to the Stage Management department should have an undergraduate concentration in theatre studies or an equivalent in practical experience. The Admissions Committee reviews all applications and qualified candidates are scheduled for an in-person interview upon the receipt of the completed application. For the interview, an applicant should bring a prompt book, production book, or similar material to support his or her candidacy.
In general, an applicant submits the following materials:
application form
current resumé
statement of purpose
application fee
three letters of recommendation except for Design (set, costume, and lighting)
one official transcript from the undergraduate institution granting the bachelor’s degree
GRE scores (general test) required only for Dramaturgy and Dramatic Criticism, Stage Management, Technical Design and Production, and Theater Management
TOEFL (iBT) if first language is not English or if applicant has graduated from a non-English speaking institution
University of Nevada, Las Vegas
M.F.A Program in Stage Management Description:
The curriculum in stage management reinforces the importance of a broad base of knowledge by requiring studios in directing, technical direction, scenery, costumes, and/or lighting. Other aspects of management are also covered, including production management, company management, and front-of-house administration.
Emphasis is also placed on management within the larger entertainment industry through a liaison with the UNLV's internationally recognized School of Hotel Administration. Opportunities for stage management exist in all theater venues as well as dance and music. Training culminates in a stage management assignment with the Nevada Conservatory Theatre.
Application Requirements:
In addition to Graduate College admission requirements applicants to the MFA program in stage management should submit to the department several pages from a sample prompt script including forms, reports, or breakdowns (cannot be returned). An interview with stage management faculty will be scheduled after application materials have been received.
Also:
1. An official transcript from all postsecondary institutions
attended, showing an undergraduate degree in theatre
and the date awarded. (An acceptable alternative
undergraduate major coupled with satisfactory practical
experience in theatre may be deemed equivalent to an
undergraduate major in theatre.)
2. A written statement (500 words or less) of the applicant’s
purpose in pursuing graduate study.
3. Two letters of recommendation sent by former instructors,
employers, or other professionals who can evaluate the
applicant’s potential to complete graduate study.
University of California, Irvine (This one sounds the best to me!!)
M.F.A. Program for Stage Management Description:
Graduate stage managers at UCI work with directors, choreographers, musical directors, and designers in various genres including drama, musical theatre, dance, opera, concerts and special events. Each graduate student will stage manage or assistant stage manage seven productions. Additionally, students gain exposure to industry professionals who are invited to the campus or who are visited on field trips throughout the Southern California area.
Students organize and participate in a series of collaboration and production meetings for each production assignment. In addition to the supervision of performers, they interview and select assistants for each production as well as supervise running crews, which can number up to 60 students. In turn, professional faculty and staff mentor graduate stage management students throughout every phase of production.
In the classroom, students pursue the art and science of stage management via a theme for each quarter. These include: Entertainment Law, Directing for Stage Managers, The Science and Art of Cue Calling, about Equity, Self Marketing, Psychology for Stage Managers, Production Management, Special Event Management, and Music and Dance Production. Training is provided not only in the specialized area of stage management but also in dramatic literature, the development of theatre, concepts and collaboration, and script analysis. These courses help stage management students to communicate effectively with all members of the production team on a professional level.
Application Requirements:
To apply to the M.F.A. program in Stage Management a completed application and $70.00 fee is required. All graduate applications are submitted electronically and must be supported by appropriate academic transcripts and three letters of recommendation, which should be mailed to the Drama Department separately.
For Stage Management applicants, the GRE exam is not required. After we receive your M.F.A. application and $70.00 fee, our stage management faculty will contact you, if you meet their initial criteria, regarding the city and time of your audition/interview. Only persons who have submitted applications and fees can be assigned an audition/interview time.
Friday, April 17, 2009
Project #5: Professional
Backstage Jobs
Assistant Stage Manager
NORTHERN LIGHTS PLAYHOUSE
HAZELHURST, WI
Job Dates: May 21, 2009 - August 23, 2009
Pay: Negotiable depending on experience biweekly
Assistant Stage Manager will assist in all production duties including props and Stage Manage one or two productions. Those with performance experience will be given the highest consideration and may be cast in a couple of roles during the summer.
Playbill Jobs
On the Square Productions
Astoria, NY 11103US
On the Square Productions is seeking a non union stage manager for their production of America: A Problem Play which will premiere in June at the Planet Connections Festival. This project combines Shakespeare's Measure for Measure with text from "The End of America" by political author Naomi Wolf. We are seeking a non-union stage manager to help facilitate rehearsals, tech, and the performances itself. The position is non-paying but it is a great opportunity to meet people, get experience, and be a part of the first green theater festival in the United States.
AEA
THE CHILDREN'S HOUR — PSM and ASM, Astoria Performing Arts Center, Astoria, NY
Contract: Showcase-NY approval pending.
Seeking: AEA Production Stage Manager & Assistant Stage Managers. Seeking individuals who possess theater background, attention to detail, ability to prioritize & will be a creative thinker with excellent people skills.
AEA
THE JOURNEY — Equity Stage Manager, Strikingly Different Productions, New York, NY
Equity Stage Manager: Well-organized individuals, with theatre background to run rehearsals and call the show. Ability to prioritize, think creatively and possess excellent people skills.
Assistant Stage Manager
NORTHERN LIGHTS PLAYHOUSE
HAZELHURST, WI
Job Dates: May 21, 2009 - August 23, 2009
Pay: Negotiable depending on experience biweekly
Assistant Stage Manager will assist in all production duties including props and Stage Manage one or two productions. Those with performance experience will be given the highest consideration and may be cast in a couple of roles during the summer.
Playbill Jobs
On the Square Productions
Astoria, NY 11103US
On the Square Productions is seeking a non union stage manager for their production of America: A Problem Play which will premiere in June at the Planet Connections Festival. This project combines Shakespeare's Measure for Measure with text from "The End of America" by political author Naomi Wolf. We are seeking a non-union stage manager to help facilitate rehearsals, tech, and the performances itself. The position is non-paying but it is a great opportunity to meet people, get experience, and be a part of the first green theater festival in the United States.
AEA
THE CHILDREN'S HOUR — PSM and ASM, Astoria Performing Arts Center, Astoria, NY
Contract: Showcase-NY approval pending.
Seeking: AEA Production Stage Manager & Assistant Stage Managers. Seeking individuals who possess theater background, attention to detail, ability to prioritize & will be a creative thinker with excellent people skills.
AEA
THE JOURNEY — Equity Stage Manager, Strikingly Different Productions, New York, NY
Equity Stage Manager: Well-organized individuals, with theatre background to run rehearsals and call the show. Ability to prioritize, think creatively and possess excellent people skills.
Friday, March 27, 2009
Project # 4 :Unconventional Theatre
1. Faust; Majak Theatre Group with Jezek and Cizek Theatre Group; August 15 - 19, 2007; Directed by Jakub Capka
2.
"Audience members get up close to the Mylar pool that descends from above during “Fuerzabruta,” a new show by the creators of “De La Guarda.”
2.
"Jakub Balaban, photo: Jezek & Cizek theatre"
http://www.worldpress.org/feed.cfm?http://www.radio.cz/en/article/94499
http://www.worldpress.org/feed.cfm?http://www.radio.cz/en/article/94499
3. This particular production of Faust struck me as unconventional in a number of ways. Firstly the actors in the company are comprised of professional actors along side individuals who are currently or have formerly been living on the streets. However, this is not some kind of non-profit outreach program funded by the government, but simply artists focused on bringing together different worlds for the sake of theatre. Secondly the group wrote their own script for the legend of Faust, tapping into their earliest memories of hearing the story to guide their specific scripting. The play was performed in a park, outside at night (it began at 9 P.M.!)with various media including video-clips, projections and a live indie-rock band.
1.Fuerza Bruta; Opened August 2, 2007 and is presently still running at the Daryl Roth Theatre; Creator: Diqui James, Composer: Gaby Kerpel, Producer: David Binder
2.
"Audience members get up close to the Mylar pool that descends from above during “Fuerzabruta,” a new show by the creators of “De La Guarda.”
3. From the descriptions I read and video clips I watched this theatrical event falls into the category of dance theatre. Personally the idea of "dance theatre" is, in itself an unconventional idea of what theatre is. "Fuerzabruta" (translation: Brute Force) is performed not in a traditional theatre, but in more of a big open room with no seats. The performers and technicians interact with the audience freely encouraging them to jump, dance and participate in making each performance an unique experience. There is no scripted dialogue, just loud techno music. Most impressive are the descriptions of a part of the performance where a large clear Mylar sheet is stretched above the audience's head holding water where women performers slide and dance (horizontally, of course.) Also, from the pictures of celebrities that have attended this particular show, it appears that the audience will not escape the event without getting quite drenched.
***Disclaimer: I had some knowledge of this production before you had ever mentioned De La Guarda to us, and didn't know until I went to the Fuerzabruta website that it was created by the same people. But I though it was such an interesting show I wanted to include it.
1. Slava's Snowshow; Opened on Broadway at the Helen Hayes Theatre December 7, 2008 and ran until Janurary 4, 2009; Creator: Slava Polunin, Director: Victor Kramer, Produced in North America by David J. Foster and Ross Mollison by arrangements with Slava and Gwenael Allan
2.
"Russian master clown Slava Polunin pushes a snowball in the fantastical 'Slava's Snowshow.'"
3. Simply put this show takes the clowns out of the circus and puts them in a theatre. The entire show is performed by clowns lead by the most famous clown in Russia, Slava who also created the production. As such, there is no spoken words from the performers. Again, audience participation is paramount and individuals attending this event can expect to toss around beach balls and fake snowballs (from the pseudo snow covering the theatre aisles) alike.
1.Cat on a Hot Tin Roof; Opened on March 6, 2008 on Broadway at the Broadhurst Theatre and ran until June 22, 2008; Director: Debbie Allen, Producers: Stephen C. Byrd and Alia M. Jones
2.
Anika Noni Rose and Terrence Howard in a revival of the Tennessee Williams play "Cat on a Hot Tin Roof."
http://theater2.nytimes.com/2008/03/07/theater/reviews/07roof.html
http://theater2.nytimes.com/2008/03/07/theater/reviews/07roof.html
3. When one thinks of Tennessee Williams, images of the pre-Civil Rights Movement South are impossible to escape. Traditionally the main characters in Williams' works are performed by white actors which, to most, seems historically accurate (Tennessee won a Pulitzer Prize for this script in 1955.) By casting the most recent Broadway revival of the work entirely with black actors, a classic becomes unconventional. Debbie Allen sets the action of the play later than it is usually played, though the exactly year is not specified. Personally, I think when producers and directors begin choosing to do productions such as this the question becomes what is the motivation behind it?
1. 13 the Musical; originally produced by The Mark Taper Forum in Los Angeles, then moved to Broadway; Opened on Broadway at the Bernard B. Jacobs Theatre on September 16, 2008 and closed January 4, 2009; Music and lyrics by Jason Robert Brown, Book by Dan Elish and Robert Horn, Director: Jeremy Sams, Choreographer: Christopher Gattelli
2.
Graham Phillips, center, as Evan in the Broadway musical "13."
3. In the world of theatre, television and film alike it is far from uncommon to have actors much older (or younger) than the characters they are playing. (Personally, the t.v. series "Dawson Creek" comes to mind - 20 somethings playing 15 year-olds, really?) In this new production not only the cast, but also the band is made up of artists all under the age of 18. Some might not consider this terribly unconventional, but considering the level of professionalism of this show (Hello Broadway!) I find it a bold choice that comes with a whole onslaught of challenges.
Friday, February 13, 2009
Project #2 Angels in America
1. Pre-Broadway Production
Magic of the angels; Angels In America by Tony Kushner National Theatre (Cottesloe)
by Nicholas De Jongh
Evening Standard (London)
January 24, 1992
http://www.lexisnexis.com/us/lnacademic/results/docview/docview.do?docLinkInd=true&risb=21_T5780281450&format=GNBFI&sort=RELEVANCE&startDocNo=1&resultsUrlKey=29_T5780281453&cisb=22_T5780281452&treeMax=true&treeWidth=0&csi=138528&docNo=3
"Tony Kushner's Angels In America is like a roman candle hurled into a drawing room."
This review talks about Kushner's script almost exclusively. As Mr. De Johng gives a summary of the plot, he also praises characterization and plot devices. He comments on the impact of Mr. Kushner's honest and brutal portrayal of AIDS on the stage. He also talks about the juxtaposition of the Angel's hopeful appearance in contrast to the betrayal, and self-deceptiveness of the rest of the characters. At the end of the review he mentions the design elements and acting, all in a postive light.
2.Original Broadway Production
Soaring 'Angels in America' // Ethereal epic of dissolution takes flight on Broadway
by David Patrick Stearns
USA TODAY
May 5, 1993
http://www.lexisnexis.com/us/lnacademic/results/docview/docview.do?docLinkInd=true&risb=21_T5780363104&format=GNBFI&sort=RELEVANCE&startDocNo=1&resultsUrlKey=29_T5780363115&cisb=22_T5780363114&treeMax=true&treeWidth=0&csi=8213&docNo=6
"This sprawling, two-part panorama of America falling apart amid AIDS and old-guard Republicanism, which opened Tuesday at the Walter Kerr Theater, often leaves actors and directors gasping to keep up with it."
Mr. Stearns obviously enjoyed the Broadway production of Angels in America, stating that the weaker moments in the original L.A. production have been adjusted for N.Y.C. (in a good way.) He praises the script, the acting, and the design of the production. Laughter is one thing he talks about being particularly surprising and positive about the play. He comments on the actor playing Prior and commends his portrayal comparing it to his work as the same character in the L.A. production.
3. Non-NYC Professional Production
Theater: Angels in America: Millennium Approaches
by Rick Reed
Windy City Times
March 15, 2006
http://www.windycitytimes.com/gay/lesbian/news/ARTICLE.php?AID=11036
"Sadly, this production of the first part of Angels in America, Tony Kushner’s epic portrait of America at the beginning of the AIDS crisis back in the early 1980s, never quite delivers on its obviously lofty ambitions."
Here is one of the few negative reviews I have come across. Mr. Reed speaks well of Kushner's script, even stating it is still relevant 20 years after being written. His complaints are if the production, acting and design. Mostly he focuses on how the design elements distanced the audience from the actors/characters. The lighting effects used did not allow the audience to see the pain in the actors' faces at important moments. He disliked the use of multiple coffins in the scenic design calling it "heavy-handed." As for the acting Mr. Reed doesn't seem impressed by the "one-note" performances and particularly has a problem with a woman being cast in three male role for what he considers novelty.
4. College Production
K-College theater hits most notes of 'Angels in America' just right
by Mark Wedel
Mr. Wedel praises this particular production of Angels in America, mentioning both technical design and acting. He makes an comment about how the fantastical script could come across as a melodrama, but the actor and director's have kept the focus on the character's very real issues. He also comments on the many, many themes hit upon by the script and the challenges of covering so much ground in one play. Though most of the article is plot summary, he has almost nothing but kind words for both the production and the script.
5. HBO Miniseries
Soaring Angels: Angels in America on HBO
by Dan Odenwald
Metro Weekly
PublishedDecember 4, 2003
http://www.metroweekly.com/arts_entertainment/tv/?ak=762
"Angels in America is intoxicating to watch. Not only is it mesmerizing and provocative, but it's also an inherently American piece, though one largely uninterested in underlining the myths of America."
The focus of this review is on the relevancy of Angels in America today and Kushner's wonderful writing. Mr. Odenwald seems to have enjoyed the television production of the play and appreciates the playwrights ability to unveil life's many contradictions. He states that the contradictions in personality make the characters human, maddeningly so. Overall he praises the acting and production of the piece but mostly he is focusing on the script.
Magic of the angels; Angels In America by Tony Kushner National Theatre (Cottesloe)
by Nicholas De Jongh
Evening Standard (London)
January 24, 1992
http://www.lexisnexis.com/us/lnacademic/results/docview/docview.do?docLinkInd=true&risb=21_T5780281450&format=GNBFI&sort=RELEVANCE&startDocNo=1&resultsUrlKey=29_T5780281453&cisb=22_T5780281452&treeMax=true&treeWidth=0&csi=138528&docNo=3
"Tony Kushner's Angels In America is like a roman candle hurled into a drawing room."
This review talks about Kushner's script almost exclusively. As Mr. De Johng gives a summary of the plot, he also praises characterization and plot devices. He comments on the impact of Mr. Kushner's honest and brutal portrayal of AIDS on the stage. He also talks about the juxtaposition of the Angel's hopeful appearance in contrast to the betrayal, and self-deceptiveness of the rest of the characters. At the end of the review he mentions the design elements and acting, all in a postive light.
2.Original Broadway Production
Soaring 'Angels in America' // Ethereal epic of dissolution takes flight on Broadway
by David Patrick Stearns
USA TODAY
May 5, 1993
http://www.lexisnexis.com/us/lnacademic/results/docview/docview.do?docLinkInd=true&risb=21_T5780363104&format=GNBFI&sort=RELEVANCE&startDocNo=1&resultsUrlKey=29_T5780363115&cisb=22_T5780363114&treeMax=true&treeWidth=0&csi=8213&docNo=6
"This sprawling, two-part panorama of America falling apart amid AIDS and old-guard Republicanism, which opened Tuesday at the Walter Kerr Theater, often leaves actors and directors gasping to keep up with it."
Mr. Stearns obviously enjoyed the Broadway production of Angels in America, stating that the weaker moments in the original L.A. production have been adjusted for N.Y.C. (in a good way.) He praises the script, the acting, and the design of the production. Laughter is one thing he talks about being particularly surprising and positive about the play. He comments on the actor playing Prior and commends his portrayal comparing it to his work as the same character in the L.A. production.
3. Non-NYC Professional Production
Theater: Angels in America: Millennium Approaches
by Rick Reed
Windy City Times
March 15, 2006
http://www.windycitytimes.com/gay/lesbian/news/ARTICLE.php?AID=11036
"Sadly, this production of the first part of Angels in America, Tony Kushner’s epic portrait of America at the beginning of the AIDS crisis back in the early 1980s, never quite delivers on its obviously lofty ambitions."
Here is one of the few negative reviews I have come across. Mr. Reed speaks well of Kushner's script, even stating it is still relevant 20 years after being written. His complaints are if the production, acting and design. Mostly he focuses on how the design elements distanced the audience from the actors/characters. The lighting effects used did not allow the audience to see the pain in the actors' faces at important moments. He disliked the use of multiple coffins in the scenic design calling it "heavy-handed." As for the acting Mr. Reed doesn't seem impressed by the "one-note" performances and particularly has a problem with a woman being cast in three male role for what he considers novelty.
4. College Production
K-College theater hits most notes of 'Angels in America' just right
by Mark Wedel
Kalamazoo Gazette
May 16, 2008 07:27AM
http://blog.mlive.com/kzgazette/2008/05/kcollege_theater_hits_most_not.html
"'Angels in America, Part One: Millennium Approaches' is a sweeping symphony of dramatic themes."
Mr. Wedel praises this particular production of Angels in America, mentioning both technical design and acting. He makes an comment about how the fantastical script could come across as a melodrama, but the actor and director's have kept the focus on the character's very real issues. He also comments on the many, many themes hit upon by the script and the challenges of covering so much ground in one play. Though most of the article is plot summary, he has almost nothing but kind words for both the production and the script.
5. HBO Miniseries
Soaring Angels: Angels in America on HBO
by Dan Odenwald
Metro Weekly
PublishedDecember 4, 2003
http://www.metroweekly.com/arts_entertainment/tv/?ak=762
"Angels in America is intoxicating to watch. Not only is it mesmerizing and provocative, but it's also an inherently American piece, though one largely uninterested in underlining the myths of America."
The focus of this review is on the relevancy of Angels in America today and Kushner's wonderful writing. Mr. Odenwald seems to have enjoyed the television production of the play and appreciates the playwrights ability to unveil life's many contradictions. He states that the contradictions in personality make the characters human, maddeningly so. Overall he praises the acting and production of the piece but mostly he is focusing on the script.
Friday, January 23, 2009
Project # 1 Genres
Carnegie Mellon University School of Drama
1.The Other Shore
By Gao Xingjian
‘‘pure drama’’
http://www.enotes.com/other-shore/
"drama"
http://chicago.metromix.com/theater/theater_event/the-other-shore-lincoln-square/796597/content
2.Into the Woods
Music and LyricsBy Stephen Soundheim
Book by James Lapine
"fractured fairy tale"
http://www.mtishows.com/show_detail.asp?showid=000106
"original musical"
http://artsedge.kennedy-center.org/content/2441/
3.Mill on the Floss
By Helen Edmundson
"adaptation" "Based on the novel by George Eliot"
http://deptorg.knox.edu/newsarchive/news_events/releases_1997-98/Mill_on_the_Floss.html
"adaptation of George Eliot's gothic novel"
http://jam.canoe.ca/Theatre/Reviews/M/The_Mill_On_The_Floss/
4.The London Cuckolds
By Edward Ravescroft
"Restoration comedy."
http://theguide.latimes.com/fairfax-district/performing-arts/the-london-cuckolds-event
"seventeenth century British sex farce"
http://www.talkinbroadway.com/ob/3_5A_01.html
5.The Illusion
By Tony Kushner an adaptation of Pierre Corneille
adaptation of "French neo-classicist Pierre Corneille's 1636 comedy"
http://shakespearenj.org/past/2002/illusion_critical.html
"17th Century fairytale-fable"
http://www.broadwayplaypubl.com/Kushner.htm
6.Eurydice
By Sarah Ruhl
"interpretation of the Orpheus/Eurydice myth"
http://www.observer.com/2007/curiouser-and-curiouser-ruhl-wrecks-eurydice-whimsy
"love story"
http://www.culturevulture.net/Theater/Eurydice.htm
7.Heart of a Dog
By Mikhail Bulgakov
"bitingly satiric.....dramatization"
http://theater2.nytimes.com/mem/theater/treview.html?res=940DEFDC173FF932A35751C0A96E948260
"wickedly funny farce"
http://www.brad.ac.uk/admin/theatre/season/dog.php
8.Radiant Baby
Music and Lyrics by John Bucchino
"frantic....new musical"
http://theater2.nytimes.com/mem/theater/treview.html?res=9C07EED71E3CF930A35750C0A9659C8B63
"New York City musical"
http://www.haringkids.com/lessons/envs/live/htdocs/lesson102.htm
9.Someone Who’ll Watch Over Me
By Frank McGuiness
"veers from tragedy to high comedy"
http://www.discoverireland.ie/DI/resultsengine/IndividualResultTCS.aspx?touristItemID=75057
"searing drama"
http://www.thestage.co.uk/reviews/review.php/16980/someone-wholl-watch-over-me.php/16980/someone-wholl-watch-over-me/
One Flea Spare
By Naomi Wallace
"A Modern Classic"
http://tech.mit.edu/V122/N22/dramashop_fred.22a.html
"poetic drama"
http://www.stagepage.info/reviews/flea.html
Pittsburgh Public Theatre
1.METAMORPHOSES
By Mary Zimmerman
"adaptation of Ovid’s Metamorphoses"
http://drama.arts.uci.edu/faculty_bios/rcohen/mary.html
"story-theater adaptation of some of the mythical Greek tales in Ovid's Metamorphoses"
http://findarticles.com/p/articles/mi_m1083/is_1_76/ai_81764245/
2.THE WORLD GOES 'ROUND
By John Kander and Fred Ebb
"glittering revue"
http://www.mtishows.com/show_detail.asp?showid=000140
"musical revue"
http://talkingbroadway.org/regional/dallas/dallas7.html
3.A MOON FOR THE MISBEGOTTEN
By Eugene O'Neill
"O’Neill’s last completed drama"
http://theater2.nytimes.com/2007/04/10/theater/reviews/10moon.html
"comic drama"
http://www.playbill.com/news/article/103750.html
4.HARRY'S FRIENDLY SERVICE
By Rob Zellers
"world-premiere comedy"
http://www.playbill.com/news/article/115005.html
5. The Chief
by Rob Zellers and Gene Collier
"one man play"
http://www.talkinbroadway.com/regional/pitt/p78.html
6.Radio Golf
by August Wilson
"drama"
http://www.playbill.com/news/article/108750.html
"bustling comedy crossed with an old-fashioned melodrama"
http://theater2.nytimes.com/2007/05/09/theater/reviews/09radio.html
7. The Lady With All The Answers
by David Rambo
"solo show"
http://www.latimes.com/entertainment/news/arts/la-et-lady27-2008oct27,0,207072.story
"biographical drama"
http://www.chicagotribune.com/features/lifestyle/chi-lady-answers-ovn-0602jun02,0,4890176.story
8.The Comedy of Errors
by William Shakespeare
"comedy"
http://www.onlinereviewlondon.com/reviews/ComedyOfErrors.html
"Shakespeare's own take on the Plautus comedy"
http://www.curtainup.com/comedyoferrorsberk.html
9.This Wonderful Life
by Steve Murray
"...stage adaptation of the perennially popular holiday film, It’s a Wonderful Life."
http://www.sjrep.com/plays/2008/this-wonderful-life/
"one-man show"
http://broadwayworld.com/article/This_Wonderful_Life_and_Neil_Casey_Soar_Like_Angels_20071128
10.Amadeus
by Peter Shaffer
"biographical drama"
http://plays.about.com/b/2008/10/17/amadeus-peter-shaffers-masterful-tribute-to-mozart.htm
"drama" http://broadwayworld.com/article/Peter_Shaffers_Amadeus_Chicago_Shakespeare_Sept_6_20080815
1.The Other Shore
By Gao Xingjian
‘‘pure drama’’
http://www.enotes.com/other-shore/
"drama"
http://chicago.metromix.com/theater/theater_event/the-other-shore-lincoln-square/796597/content
2.Into the Woods
Music and LyricsBy Stephen Soundheim
Book by James Lapine
"fractured fairy tale"
http://www.mtishows.com/show_detail.asp?showid=000106
"original musical"
http://artsedge.kennedy-center.org/content/2441/
3.Mill on the Floss
By Helen Edmundson
"adaptation" "Based on the novel by George Eliot"
http://deptorg.knox.edu/newsarchive/news_events/releases_1997-98/Mill_on_the_Floss.html
"adaptation of George Eliot's gothic novel"
http://jam.canoe.ca/Theatre/Reviews/M/The_Mill_On_The_Floss/
4.The London Cuckolds
By Edward Ravescroft
"Restoration comedy."
http://theguide.latimes.com/fairfax-district/performing-arts/the-london-cuckolds-event
"seventeenth century British sex farce"
http://www.talkinbroadway.com/ob/3_5A_01.html
5.The Illusion
By Tony Kushner an adaptation of Pierre Corneille
adaptation of "French neo-classicist Pierre Corneille's 1636 comedy"
http://shakespearenj.org/past/2002/illusion_critical.html
"17th Century fairytale-fable"
http://www.broadwayplaypubl.com/Kushner.htm
6.Eurydice
By Sarah Ruhl
"interpretation of the Orpheus/Eurydice myth"
http://www.observer.com/2007/curiouser-and-curiouser-ruhl-wrecks-eurydice-whimsy
"love story"
http://www.culturevulture.net/Theater/Eurydice.htm
7.Heart of a Dog
By Mikhail Bulgakov
"bitingly satiric.....dramatization"
http://theater2.nytimes.com/mem/theater/treview.html?res=940DEFDC173FF932A35751C0A96E948260
"wickedly funny farce"
http://www.brad.ac.uk/admin/theatre/season/dog.php
8.Radiant Baby
Music and Lyrics by John Bucchino
"frantic....new musical"
http://theater2.nytimes.com/mem/theater/treview.html?res=9C07EED71E3CF930A35750C0A9659C8B63
"New York City musical"
http://www.haringkids.com/lessons/envs/live/htdocs/lesson102.htm
9.Someone Who’ll Watch Over Me
By Frank McGuiness
"veers from tragedy to high comedy"
http://www.discoverireland.ie/DI/resultsengine/IndividualResultTCS.aspx?touristItemID=75057
"searing drama"
http://www.thestage.co.uk/reviews/review.php/16980/someone-wholl-watch-over-me.php/16980/someone-wholl-watch-over-me/
One Flea Spare
By Naomi Wallace
"A Modern Classic"
http://tech.mit.edu/V122/N22/dramashop_fred.22a.html
"poetic drama"
http://www.stagepage.info/reviews/flea.html
Pittsburgh Public Theatre
1.METAMORPHOSES
By Mary Zimmerman
"adaptation of Ovid’s Metamorphoses"
http://drama.arts.uci.edu/faculty_bios/rcohen/mary.html
"story-theater adaptation of some of the mythical Greek tales in Ovid's Metamorphoses"
http://findarticles.com/p/articles/mi_m1083/is_1_76/ai_81764245/
2.THE WORLD GOES 'ROUND
By John Kander and Fred Ebb
"glittering revue"
http://www.mtishows.com/show_detail.asp?showid=000140
"musical revue"
http://talkingbroadway.org/regional/dallas/dallas7.html
3.A MOON FOR THE MISBEGOTTEN
By Eugene O'Neill
"O’Neill’s last completed drama"
http://theater2.nytimes.com/2007/04/10/theater/reviews/10moon.html
"comic drama"
http://www.playbill.com/news/article/103750.html
4.HARRY'S FRIENDLY SERVICE
By Rob Zellers
"world-premiere comedy"
http://www.playbill.com/news/article/115005.html
5. The Chief
by Rob Zellers and Gene Collier
"one man play"
http://www.talkinbroadway.com/regional/pitt/p78.html
6.Radio Golf
by August Wilson
"drama"
http://www.playbill.com/news/article/108750.html
"bustling comedy crossed with an old-fashioned melodrama"
http://theater2.nytimes.com/2007/05/09/theater/reviews/09radio.html
7. The Lady With All The Answers
by David Rambo
"solo show"
http://www.latimes.com/entertainment/news/arts/la-et-lady27-2008oct27,0,207072.story
"biographical drama"
http://www.chicagotribune.com/features/lifestyle/chi-lady-answers-ovn-0602jun02,0,4890176.story
8.The Comedy of Errors
by William Shakespeare
"comedy"
http://www.onlinereviewlondon.com/reviews/ComedyOfErrors.html
"Shakespeare's own take on the Plautus comedy"
http://www.curtainup.com/comedyoferrorsberk.html
9.This Wonderful Life
by Steve Murray
"...stage adaptation of the perennially popular holiday film, It’s a Wonderful Life."
http://www.sjrep.com/plays/2008/this-wonderful-life/
"one-man show"
http://broadwayworld.com/article/This_Wonderful_Life_and_Neil_Casey_Soar_Like_Angels_20071128
10.Amadeus
by Peter Shaffer
"biographical drama"
http://plays.about.com/b/2008/10/17/amadeus-peter-shaffers-masterful-tribute-to-mozart.htm
"drama" http://broadwayworld.com/article/Peter_Shaffers_Amadeus_Chicago_Shakespeare_Sept_6_20080815
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