Monkeys are smart. Though they haven't created cars or trains or weapon, they are educated through simplicity. They flourish on what they have, and if something doesn't work, they don't give up, but they evolve to overcome it. Like monkeys, Shakespeare had no thesaurus, no dictionary, no laptop and no editor. But when he came to a spot where he was at loss for words, he made up his own words. Through practice, perseverance and certainly trial and error, he created works that will last forever.

I am a 13 year old kid who is trying to read and attend live performances of all 37 Shakespeare plays (plus 3 possible collaborations) in 2 years. This is a record of my experiences.

I am now a 19 year old college freshmen at Northwestern University, pursuing a degree in Theatre. The spark of love for Shakespeare that began this blog has grown into a roaring fire. That fire burns a little bit brighter each day. This is where it all began.


Friday, January 15, 2010

As You Like It - BAM


As You Like It was performed by the same company that will do the Tempest. To be honest, it wasn’t that great. The set, like many other well-directed plays, was minimal. There was a field of weeds in the back and a couple trees, but outside of that there wasn’t really anything. Sam Mendes, the director, did a very good job of making sure that no one stayed still for too long, hence there were no unnecessary stops. There was a beautiful scene (the death of Adam) where as the lights fades, one still shone on his white hair as his eyes closed. But the direction shrank under the feet of the actors. There were a few well enunciated and physically well played performances, but many were on the quiet side.

Christian Camarago (Orlando)

He was very efficient at moving around the stage, filling every corner of the floor. He spoke his lines clearly, with passion and a lot of vigor. But he just didn’t have the feel like an Orlando. I don’t know what it was, but he just didn’t seem to be an Orlando. He was not wreck, but he lacked the real power of Orlando. He should be princely even in poverty and ignorance. It is a hard part, and many couldn’t even attempt it, but he wasn’t the arrogant, strong character that is Orlando.

Edward Bennett (Oliver)
He was a bright star. He really hated his brother, and he showed it. He had a look in his eyes that you could see from the seats. He had an evil air, but it was tamed over the course of the play. He was every bit the slimy, spiteful, jealous brother as he was the transformed, loving man.

Juliet Rylance (Rosalind)
She was amazing as a boy. She had so much fire! She flounced around like a star. She was great. She had no ties to reality. She was most impressive because she created a new reality. She was the epitome of Rosalind. She was very sweet and endearing.
Thomas Sadoski (Touchstone)
He was a true fool, even when he wasn’t prancing around the stage. He enunciated. He acted. He conquered. He was very lively, but he didn’t overdo it. He was very joking but he seemed to stumble over the line of seriousness, without overdoing it. He really had a powerful touch on every one, not only Jaques.

Stephen Dillane (Jaques)
Jaques was appropriately desolate because he was solemnly desolate. He had no envy or lust for friends or power, as he has been played. He stayed alone, constantly breaking away from the group. This enhanced the speeches, giving them a desolate air. He was almost tear-jerking. He was very effective and he really brought out the character traits whether melancholy, euphoric, or just passive on all fronts.

The other players were fine as well.
Photo Credits: Joan Marcus for BAM.

No comments:

Post a Comment