Shakespeare without the words does not excite me.
Not that the Munich Künstlerhaus’s A Midsummer Night’s Dream lacks words entirely. “We are such stuff as dreams are made on,” Claudia de Boer announces at the beginning of the play. (Her monologues borrow freely from non-Midsummer Shakespeare plays, including Macbeth, The Merchant of Venice, and, of course, The Tempest.) And dreams are definitely the focus here.
Continue reading A midsummer night at the Künstlerhaus: great puppets but no drama
“Alienation” drones Ivanov’s English-learning tape in the second act of the production. The audience chuckles; the tape is precisely what Ivanov is using to distance himself from the world around him. As I watched Ivanov destroy his happiness, wallowing in his own guilt and failure without moving to change his behavior, I wondered why I should care.
Continue reading A static ‘Ivanov’ at Theaterfestival Basel