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Home :: Archive :: 1993 :: August ::
Re: *All's Well" in Central Park
Shakespeare Electronic Conference, Vol. 4, No. 481.  Thursday, 12 August 1993.
 
(1)     From:   Nick Clary <
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        Date:   Wednesday, 11 Aug 1993 10:33:16 -0500 (EST)
        Subj:   Re: SHK 4.0480  *All's Well* in Central Park
 
(2)     From:   Hilary Thimmesh <
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        Date:   Wednesday, 11 Aug 1993 10:49:05 -0500 (CDT)
        Subj:   ALL'S
 
 
(1)----------------------------------------------------------------------------
From:           Nick Clary <
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Date:           Wednesday, 11 Aug 1993 10:33:16 -0500 (EST)
Subject: 4.0480  *All's Well* in Central Park
Comment:        Re: SHK 4.0480  *All's Well* in Central Park
 
Thanks for the good news on ALL'S WELL.  Could you tell more about the "magic
and healing" that you saw onstage?  Incidentally, if you are doing a stage
version of TWELFTH NIGHT, you might wish to capitalize on what you can find
out about mirror technology and mirror uses at the end of the 16th century in
England.  The Duke's astonished response to what he sees in 5.1, will be all
the more enriched by what you discover and how you choose to employ it:
 
         One face, one voice, one habit, and two persons--
         A natural perspective that is and is not.
 
Keep us posted on your musings and let us know how you theatricalize the
script.
 
Nick Clary

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(2)----------------------------------------------------------------------------
From:           Hilary Thimmesh <
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Date:           Wednesday, 11 Aug 1993 10:49:05 -0500 (CDT)
Subject:        ALL'S
 
Dear Steve:  Thanks for your rave review of the Central Park "All's Well."
There's no way that I'm going to see it but, I'm particularly interested in
the play right now having spent most of July reading J.P. Kemble's 1811
stage version compared to Garrick's older version and Thomas Bowdler's ex-
purgated text.  Bowdler didn't find much to remove and surprisingly left the
sexual references in the last scene intact.  Garrick played up Parolles;
Kemble very carefully shifted lines and scenes to make Helena a rather wist-
ful romantic heroine.  I would be interested to know more about the Central
Park production.  Is it straightforwardly Shakespeare's text, weighty lines
and all?  How does the older generation come off--the Countess, the King,
LeFew, the Clown?  What's this business about a window into eternity?  I'll
be happy to hear anything more you want to say about this production.
Thanks!    Hilary Thimmesh, St. John's (MN)
 

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