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neadodsTurns out that Graham wasn't just dressed as a crippled vet, that's a real cast over a real broken foot from playing soccer and the person pissed off in particular is the director of The Lark, who had to completely rework the role before opening to accommodate. (This was after all the casting decisions had been made, though.)
Works really well as Jacques, though.
Left my program for Karamozov back at the B&B, so the spellings are going to be varied at best. This is one of those "I Love Scott" plays that I wouldn't have gotten a ticket for if he hadn't been in it. When I realized that it's all about his murder, I figured I'd stay until intermission and leave after he died.
By the time intermission came, I was so wrapped up that I hated the interruption, even though my butt was numb.
This was a very mannered production; all the actors were onstage at all times, coming forward to act out parts as the story was told, or acting as a chorus at the rear, or being part of the audience as required. It was a very nonlinear production, something which I'm not usually fond of, but this was just a fascinating production. Having not read the book, I wasn't familiar with the story, and was therefore wrapped up in the plot of the conniving wench, the overly forgiving fiancee, the angry father, angrier eldest son, conflicted middle boys, and conniving bastard.
Yet although the acting was perfect, I'm sure all the actors went out and had several stiff drinks afterwards, beating their heads against the table (to the tune of The Volga Boatmen, probably.) The monastic brother, Alyosha, transforms after the intermission from a bearded young man in an orthodox cassock to atwelve-year-old clean-shaven man in a bad suit. This confused several people who didn't recognize him, particularly the deaf lady sitting center stage and her deaf companion, so one asked loudly about who he was, was answered loudly, misunderstood and asked again and was about to have it all explained at length until the people around them shushed them.
Then, in the middle of one of the really dramatic monologues towards the end, a man had a major coughing fit, which echoed over the tiny Patterson like thunder.
And if that wasn't enough, their own setting betrayed them; at one point a red gel malfunctioned, snapping loudly and rapidly across one of the main center-stage lights for a good 30-40 seconds of snickCLACKsnickCLACKsnickCLACKsnickCLACK red-white-red-white-red-white on the action. The ubiquitous Jonathan Goad (here the eldest son Dimitri), couldn't resist staring upwards from his downstage freeze.
When I was telling the story at breakfast, as soon as I said that the actors needed a drink, the hostess of the B&B asked "Did the bat come back?" Apparently a bat had gotten loose in the theater one night. "It was a well-trained bat," she assured us, "It sat during all the dialog and only flittered during the changes." But it also apparently strafed the stage at one point, startling an actress into screaming. Having had a brown bat fly in my face, I sympathize entirely with her.
But while this is a production well worth seeing, I have a feeling that the actors involved are going to twitch for years after when you mention it.
Today is Edward II (Marlowe's) and The Lark; if I come back online it will be close to the evening performance, but don't look for me. Edward's at the Studio, which is not only cross town, but is my opportunity to have a great dinner (either at Garlics or Bentleys) and maybe say hi to Scott.
Works really well as Jacques, though.
Left my program for Karamozov back at the B&B, so the spellings are going to be varied at best. This is one of those "I Love Scott" plays that I wouldn't have gotten a ticket for if he hadn't been in it. When I realized that it's all about his murder, I figured I'd stay until intermission and leave after he died.
By the time intermission came, I was so wrapped up that I hated the interruption, even though my butt was numb.
This was a very mannered production; all the actors were onstage at all times, coming forward to act out parts as the story was told, or acting as a chorus at the rear, or being part of the audience as required. It was a very nonlinear production, something which I'm not usually fond of, but this was just a fascinating production. Having not read the book, I wasn't familiar with the story, and was therefore wrapped up in the plot of the conniving wench, the overly forgiving fiancee, the angry father, angrier eldest son, conflicted middle boys, and conniving bastard.
Yet although the acting was perfect, I'm sure all the actors went out and had several stiff drinks afterwards, beating their heads against the table (to the tune of The Volga Boatmen, probably.) The monastic brother, Alyosha, transforms after the intermission from a bearded young man in an orthodox cassock to a
Then, in the middle of one of the really dramatic monologues towards the end, a man had a major coughing fit, which echoed over the tiny Patterson like thunder.
And if that wasn't enough, their own setting betrayed them; at one point a red gel malfunctioned, snapping loudly and rapidly across one of the main center-stage lights for a good 30-40 seconds of snickCLACKsnickCLACKsnickCLACKsnickCLACK red-white-red-white-red-white on the action. The ubiquitous Jonathan Goad (here the eldest son Dimitri), couldn't resist staring upwards from his downstage freeze.
When I was telling the story at breakfast, as soon as I said that the actors needed a drink, the hostess of the B&B asked "Did the bat come back?" Apparently a bat had gotten loose in the theater one night. "It was a well-trained bat," she assured us, "It sat during all the dialog and only flittered during the changes." But it also apparently strafed the stage at one point, startling an actress into screaming. Having had a brown bat fly in my face, I sympathize entirely with her.
But while this is a production well worth seeing, I have a feeling that the actors involved are going to twitch for years after when you mention it.
Today is Edward II (Marlowe's) and The Lark; if I come back online it will be close to the evening performance, but don't look for me. Edward's at the Studio, which is not only cross town, but is my opportunity to have a great dinner (either at Garlics or Bentleys) and maybe say hi to Scott.
