Showing posts with label Moritz von Stuelpnagel. Show all posts
Showing posts with label Moritz von Stuelpnagel. Show all posts

Monday, September 3, 2018

Bernhardt/Hamlet


Bernhardt/Hamlet
Roundabout Theatre Company
American Airlines Theatre

Photo courtesy of Roundabout Theatre Company
In Bernhardt/Hamlet playwright Theresa Rebeck debates the power of women to transcend societal expectation.  The play portrays the legendary actress Sarah Bernhardt as she takes on the monumental role of Hamlet.  She is the first woman to take on this role.  Since the men around her are unable to picture it, they are therefore incapable of supporting her in her quest.  Ms. Rebeck weaves the poetic texts of William Shakespeare and Edmond Rostand into her well-crafted play.  Director Moritz von Stuelpnagel explores the classically stylistic recitations of the period and allows them to evolve into deep, meaningful moments of discovery for the characters and the audience. 

The year is 1897.  In Paris the great Sarah Bernhardt (played by Janet McTeer) is rehearsing the role of Hamlet.  She is struggling with the character’s inability to take action amid Shakespeare’s lengthy and poetic soliloquies.  When her lover, Edmond Rostand (played by Jason Butler Harner), returns after working on his new play, they discuss her taking on this colossal project.  No one, including theatre critic Louis (played by Paxton Whitehead) thinks it is a good idea.  Alphonse Mucha (played by Matthew Saldivar), the artist who paints all her theatre posters, struggles to find the proper perspective for her portrait.  Sarah is determined to make Hamlet her own, which includes having Rostand rewrite it for her.

Dylan Baker, Janet McTeer, & Jason Butler Harner
Photo courtesy of Roundabout Theatre Cmpany
Janet McTeer captures a poetic panache and egotistical command that grounds her embodiment of Sarah Bernhardt.  As she struggles to find the essence of Hamlet, Sarah waivers in indecision.  This causes the same incapacity to take action that Hamlet suffers from.  Ms. Rebeck skillfully draws this parallel between the true Sarah Bernhardt and fictional Hamlet.  Ms. McTeer plays this quandary perfectly.  As Sarah Bernhardt speaks passionately about what she wants to achieve in the role of Hamlet, her doubts rise to the surface making the rehearsal process slow and laborious.  Ms. McTeer has scenes where she technically recites Shakespeare’s lines, then brilliantly sinks into a rhythm that unearths the soul of Hamlet.  These scenes ring with truth and discovery.

Sarah Bernhardt as Hamlet
A woman taking on this classic role written for a man is seen as preposterous in Sarah Bernhardt’s time.  This judgement is juxtaposed with the fact that Shakespeare’s women were traditionally played by men.  Not only that, but many of Shakespeare’s female characters disguised themselves as men to achieve objectives they were unable to even attempt as women.  As all of this historic and literary fact is debated in this play, the male characters reveal their honest thoughts of what they expect when they contemplate a woman, especially one as strong as Sarah Bernhardt.  While projecting these expectations, they define her power, consequently confining her with limitation.  Sarah Bernhardt’s journey of surpassing these expectations is fascinating.  In this play, as in Shakespeare’s works where women disguise themselves as men, the characters who take the boldest and bravest action to achieve their desired outcome are the women. 

This Roundabout Theatre Company production is as grand as the legend herself.  Set design by Beowulf Boritt is lush and full of significant detail that grabs the audience’s attention and draws them into the time period.  The performances from the stellar cast of eleven are intelligent and truthful.  Bernhardt/Hamlet is playing at the American Airlines Theatre through November 11.

Domenick Danza

Saturday, March 28, 2015

Hand to God

Hand to God
The Booth Theatre
March 20, 2015

Photo courtesy of Hand to God
Hand to God is aptly subtitled “a new American play.”  It questions the definitions of good and evil by separating them from the various grey areas in between.  A concept every American would benefit to examine and reflect upon.  Playwright Robert Askins writes with a unique, edgy wit.  The script is strikingly sobering.  The show is cunningly directed by Moritz von Stuelpnagel.  Steven Boyer is stellar as Jason.  He and the entire cast (Geneva Carr, Marc Kudisch, Michael Oberholtzer, and Sarah Stiles) serve up authentic performances that are remarkable, raw, and funny.

The first act will make you laugh and agree that yes, when the world hands you more than you can manage, put on a sock puppet, let it curse like crazy, and say the devil made you do it.  This is what the main character, Jason, does when he is overwhelmed with feelings of abandonment by the death of his father and the emotional detachment of his mother.  The second act gets real and violent and psychological as we see the depth of Jason’s despair.  The mood shifts from hysterical to disturbing.  Everyone in the audience stopped laughing (at different times) as they began to realize the level of volatility and frustration the character was embodying. 

The play was so good that I bought the refrigerator magnet… at intermission.  I usually wait until the end of the show.  This is strong seal of approval in my book, and the best $10 ever spent.  

My refrigerator Broadway show magnet collection.

Hand to God is presently in previews and officially opens April 7.  Go see this play!  It is a skillfully crafted work that uses humor to unmask truth.  A truth we all need to face.

Steven Boyer in "Hand to God"
Photo courtesy of Hand to God
A personal take away:  As a NYC Public High School teacher, certain students tend to go off (on a rant) on a regular basis with various expletives for any number of reasons.  Perhaps the next time this happens (I am thinking of one student in particular), I will picture her devilish voice coming from a sock puppet attached to her left hand.  This will allow me to 1) laugh at the absurdity of the situation, and 2) be empathetic to the level of fear and hurt that her outburst is covering.  Profound or sarcastic?  We’ll see.  I am sure I will have a chance to put this experiment into action this week.

Domenick Danza