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Home :: Archive :: 2001 :: June ::
Re: Colorblindness & Nunn's Merchant
The Shakespeare Conference: SHK 12.1407  Thursday, 7 June 2001

[1]     From:   Dana Shilling <
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        Date:   Wednesday, 6 Jun 2001 13:43:39 -0400
        Subj:   Re: SHK 12.1386 Re: Colorblindness & Nunn's Merchant

[2]     From:   Karen Peterson-Kranz <
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        Date:   Wednesday, 6 Jun 2001 11:30:30 -0700 (PDT)
        Subj:   Re: SHK 12.1386 Re: Colorblindness & Nunn's Merchant

[3]     From:   Thelma English <
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        Date:   Wednesday, 6 Jun 2001 21:18:01 -0700
        Subj:   Trevor Nunn Merchant

[4]     From:   Patricia Cooke <
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        Date:   Thursday, 07 Jun 2001 16:19:13 +1200
        Subj:   Re: SHK 12.1349 Re: Colorblindness & Nunn's Merchant


[1]-----------------------------------------------------------------
From:           Dana Shilling <
 This e-mail address is being protected from spambots. You need JavaScript enabled to view it
 >
Date:           Wednesday, 6 Jun 2001 13:43:39 -0400
Subject: 12.1386 Re: Colorblindness & Nunn's Merchant
Comment:        Re: SHK 12.1386 Re: Colorblindness & Nunn's Merchant

A few days ago, this thread asked about productions in which Viola and
Sebastian were both played by women. According to Alfred Rossi's
"Astonish Us in the Morning," a book of interviews about Tyrone Guthrie,
in 1937 Guthrie directed an Old Vic production in which Jessica Tandy
played both parts. "It's a marvelous idea," Tandy said. "He made it work
physically, except that it's really impossible for the actress, because
you have to save so much to play Sebastian that you could have used in
Viola in order to differentiate them. You also ran a lot backstage, to
try and come in the other side. But the confrontation at the end, when
they're both on at the same time, he did marvelously."

Dana Shilling

[2]-------------------------------------------------------------
From:           Karen Peterson-Kranz <
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Date:           Wednesday, 6 Jun 2001 11:30:30 -0700 (PDT)
Subject: 12.1386 Re: Colorblindness & Nunn's Merchant
Comment:        Re: SHK 12.1386 Re: Colorblindness & Nunn's Merchant

> One note reads "Portia and Nerissa seem genuinely
> moved by Morocco's
> despair.  Portia's 'Let all of his complexion choose
> me so' seems
> nervous rationalization."

Thank you, Bill.  That satisfies my curiosity, and suggests that for
some inexplicable reason they did decide to cut the line for the video
version.  Your interpretation of Portia's and Nerissa's emotional
response, and "nervous rationalization," sounds very much in line with
that mood.

Many, many thanks to Mike, Geralyn, Stevie, Arthur and Nicol, who both
on and off-list provided a wealth of ideas and suggestions.  You're the
best!

One little P.S. on this.  While trying to find answers to my questions,
I was searching the SHAKSPER archives and spent a bit of time re-reading
last year's wonderfully detailed and erudite "Chooseth" thread on MoV.
People who are new to the list might want to look this one up on the
website -- it's a marvellous example of how GOOD (in a thoroughly
'Ciceronian' fashion -- thanks, Ed!) discussion on this list can be.

Cheers,
Karen

[3]-------------------------------------------------------------
From:           Thelma English <
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Date:           Wednesday, 6 Jun 2001 21:18:01 -0700
Subject:        Trevor Nunn Merchant

Would anyone on the list know whether the Trevor Nunn "Merchant of
Venice" is available in a VHS format and where I could purchase a copy?

Thank you,
Thelma English

[4]-------------------------------------------------------------
From:           Patricia Cooke <
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Date:           Thursday, 07 Jun 2001 16:19:13 +1200
Subject: 12.1349 Re: Colorblindness & Nunn's Merchant
Comment:        Re: SHK 12.1349 Re: Colorblindness & Nunn's Merchant

I saw Cheek by Jowl's As You Like It (three times) in 1992 here in
Wellington New Zealand.  The production had opened in new York 1991 and
was on a long tiring tour.

It was the most enjoyable AYLI I had ever seen, or hope to see.  Adrian
Lester was Rosalind and Tom Hollander Celia.  Orlando was Patrick
Toomey, not Scott Handy.  An African-British actor in the cast besides
Lester was Joe Dixon who doubled Charles and the melancholy Jaques.

At the beginning all  the cast came on and started to recite 'all the
world's a stage' and at the line 'and all the men and women' they split
into those who were playing men and the four who were playing women, who
moved to one side, then at 'exits and entrances' they all left the stage
and so began the play proper.

For the seven ages speech in its right context Jaques came down to the
edge of the stage and addressed the audience directly, looking round the
large 3-tiered auditorium slowly and  intently, while the other actors
stood easy.  Particularly memorable were Mike Afford as Corin and
Richard Cant as Audrey.  The cross-gender, colour-blind casting quickly
became a matter of no importance because those  actors were  first class
and most charismatic, especially Lester and Hollander.

I shall remember it lovingly, and can still hear Hollander saying the
line "wonderful   out of all whooping".  Nine years ago.

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