The Shakespeare Conference: SHK 20.0305 Wednesday, 10 June 2009
[1] From: Gabriel Egan <
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Date: Tuesday, 09 Jun 2009 20:41:24 +0100
Subj: Re: SHK 20.0295 Current at New Globe and Courtyard
[2] From: Louis Swilley <
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Date: Tuesday, 9 Jun 2009 15:29:51 -0700 (PDT)
Subj: Mr. Fieberg is too kind
[1]-----------------------------------------------------------------
From: Gabriel Egan <
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Date: Tuesday, 09 Jun 2009 20:41:24 +0100
Subject: 20.0295 Current at New Globe and Courtyard
Comment: Re: SHK 20.0295 Current at New Globe and Courtyard
Steve Roth refers to the London replica Globe production of Macbeth in 2001,
>. . . which used a "jazz" theme involving
>fancy 20's dress, a great deal of dancing, and --
>inexplicably -- much messing about with . . . chairs.
>. . . I am by no means the first to pan this
>production, by the way. The response was pretty
>universal.
The panning from reviewers was so great that a number of large block
bookings (especially schools) asked to cancel their tickets and get a
refund. To their credit, the theatre management refused these requests
and stood by the production, although those who worked at the theatre
were almost all in private agreement that the production was laughably
bad. Steve has neglected to mention the motorized black marble table
that floated on wires descending from above and was controlled by a
stage hand with a laptop in the heavens, the painted underside of which
had to be drilled to give passage to the wires.
The director, Tim Carroll, wore a terribly harried expression for days
after the reviews came out. The following year he elected to direct
Richard 2 using original practices and clothing, creating a production
that was widely celebrated.
Gabriel Egan
[2]-----------------------------------------------------------------
From: Louis Swilley <
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Date: Tuesday, 9 Jun 2009 15:29:51 -0700 (PDT)
Subject: Mr. Fieberg is too kind
Sorry, Mr. Fieberg, When I pay $100 to watch a play, I expect 1) to be
comfortable enough for 2 //2 hours to give my attention to the play
rather than to the distraction of my aching back, 2) to see a first
class performance, 3) to be able to hear clearly every actor on the
stage. There is absolutely NO repeat NO excuse for tormenting an
audience with backless wooden benches; there is a limit to the delight
of authenticity. I do not go to any theatre to leave my seat to drink
beer or jollify; I doubt that you do, either. The bottom line here is
that the seating in many of the London/Stratford theatres is cramped,
claustrophobic and the auditoriums hot with stale air. This is
inexcusable, disgraceful.
L. Swilley
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