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Home :: Archive :: 2003 :: January ::
Re: Video Recordings of Jonson's Plays
The Shakespeare Conference: SHK 14.0140  Tuesday, 28 January 2003

[1]     From:   Tom Cartelli <
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        Date:   Monday, 27 Jan 2003 09:12:54 -0500 (EST)
        Subj:   Re: SHK 14.0132 Video Recordings of Jonson's Plays

[2]     From:   Hardy M. Cook <
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        Date:   Tuesday, January 28, 2003
        Subj:   Re: Video Recordings of Jonson's Plays


[1]-----------------------------------------------------------------
From:           Tom Cartelli <
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Date:           Monday, 27 Jan 2003 09:12:54 -0500 (EST)
Subject: 14.0132 Video Recordings of Jonson's Plays
Comment:        Re: SHK 14.0132 Video Recordings of Jonson's Plays

Prof. Schott might want to take a trip down to DC where a production of
THE SILENT WOMAN is opening this evening (Jan 27--and running through
March 9) at the Shakespeare Theatre on 7th St. directed by Michael
Kahn.  I saw it in preview last night and though I found it a tad too
broad and bumptious for my taste, it was wonderfully well-acted, spoken,
and designed.

Tom Cartelli

[2]-------------------------------------------------------------
From:           Hardy M. Cook <
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Date:           Tuesday, January 28, 2003
Subject:        Re: Video Recordings of Jonson's Plays

Since Tom Cartelli mentions it, here are the first few paragraphs of the
*Washington Post* review of THE SILENT WOMAN.

http://www.washingtonpost.com/wp-dyn/articles/A52656-2003Jan27.html

'The Silent Woman': Raucous Entertainment
By Peter Marks
Washington Post Staff Writer
Tuesday, January 28, 2003; Page C01

Okay people, settle down. I said settle! You up there-in the neck
ruffles so outrageous you make Eustace Tilley seem underdressed-where do
you think you're going with that chamber pot? And you, yes, you-the one
with the decolletage out of a Madonna video: Could you PLEASE stop all
that grinding in the lap of that young man in the wig?

Just to clarify: "Animal House, 1609" is not the title of the ribald and
ripping new production at Shakespeare Theatre. The antics only seem to
be patterned after a gang of frat pledges with diseased minds. The name
of this lunatic farce is "The Silent Woman," by that Elizabethan bad boy
Ben Jonson. Under the expert tutelage of Michael Kahn, the actors are
transformed into Jonson's willing accomplices, merry pranksters all in
an evening of endless gibes and smirks.

Kahn, the theater's artistic director, had long wanted to stage this
neglected work by Shakespeare's contemporary, best known as the author
of "Volpone." It's a gratifying resuscitation, and it gives you newfound
respect not only for Jonson but also for other underappreciated
geniuses. Who knew, for example, that the Farrelly brothers ("Dumb and
Dumber") had classical roots? "The Silent Woman," after all, makes no
pretense of insight into the human condition. In its wall-to-wall
zaniness, it sneers at everyone and everything. You can even imagine a
scene long ago in a pub, after the very first performance of "Othello,"
when Jonson might have sent a pint of ale and a note over to
Shakespeare's table: "Will. Lighten up. Ben."

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