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Vindication, of a sort.
The Richard III reviews are in, and they're good:
A compelling 'Richard'
Lisa Brock, Special To The Star Tribune
When the winners write the history, the losers come off the worse as a result. Was Richard III the complete blackguard portrayed in Shakespeare's play? Probably not. Does that make his portrait of a villain any less fascinating? Definitely not, as Starting Gate Productions' current airing of "Richard III" demonstrates with relish.
This unrelentingly bloody tale of a younger son willing to murder all who stand in the way compels through its sheer theatricality, and director Zach Curtis keeps that element front and center. Actor Garry Geiken literally transforms himself into the title role in the opening monologue, his body taking on Richard's deformities as he describes them. Geiken creates a villain who revels in his ability to don a mask and who enlists the audience at the outset as co-conspirators and cheering section.
Whether he's seducing the widow of a man he recently murdered or playing the loving uncle to the two nephews who will be his next victims, this Richard isn't mitigated by even a ghost of a conscience or a shred of sympathetic motivation; rather, he's a consummate actor who is simultaneously astonished and emboldened by the success of his own performances. Geiken revels in this aspect of the role, making Richard a cunning clown as he milks every drop of black comedy he can out of the lines. Curtis further enhances this production's focus on dissembling theatricality through the bold move of casting Craig Johnson in three roles: as Richard's two brothers, Clarence and King Edward, and his mother, the Duchess of York. Johnson more than does justice to all three roles, but particularly shines as the hapless Clarence, offering a gentle study in bewildered pathos mingled with flights of luminous lyricism. The rest of the cast members acquit themselves with varying degrees of success. Pete Colburn turns in a nicely nuanced performance as Hastings, while Sally Ann Wright brings passion and bitter humor to the role of Queen Margaret. Stephanie Lein as Anne, on the other hand, struggles to make her capitulation to Richard convincing, weakening the impact of the famous wooing scene. Steven M. Kath's bleak set creates an aptly neutral playing space while Joseph Papke's percussive music nicely underscores the dramatic momentum.
'Richard III' resonates
BY ROB HUBBARD
Pioneer Press
If you're a traditionalist when it comes to Shakespeare, you should know two things about Starting Gate Productions' version of "Richard III." First, there's little in its set or costumes to suggest royal pomp or faithfulness to its era. Instead, it places the action in what looks like a shantytown alleyway lined with corrugated tin panels.
But if what you desire is a "Richard III" that strikes to the heart of the author's intent and brings his poetry to vibrant life, then you'll seldom find such faithfulness as this. Performed within the intimate confines of downtown St. Paul's Loading Dock Theater, it's carried out in a claustrophobic closeness that makes the tale of the power-mad murderer deeply engrossing and appropriately chilling.
You may not expect such serious fare from someone who heads a theater company called Fifty Foot Penguin, but Zach Curtis is a skilled director with a blossoming career. And he's not only found a first-rate Richard in Gerry Geiken, but has surrounded him with a cast that could be described as an all-star team of local small-theater actors, including a few who run their own companies.
And it's easy to see why so many of these talented actors chose to participate in this production: They clearly understand that there's no such thing as a weakly written character in Shakespeare. All have opportunities to paint a vivid portrait and apply myriad shades of color to their performances.
While some renditions of "Richard III" hinge solely upon a star turn in the title role, this is one that lets you see the layers of motivation in each character around him, leaving one to contemplate what can happen when one person is resolute while others stand conflicted.
And Geiken offers a magnetic version of one of literature's great villains, bringing Richard to life in all of his manipulative, slimy, charming, funny, horrifying glory. And it's to Geiken's credit that an audience can find something to pity in Richard as he eventually succumbs to guilt and paranoia.
But this production is filled with fine performances, and, among them, two others stand out. Sally Ann Wright creates a bitter and vitriolic Margaret, the former queen who unleashes her fury upon Richard's retinue. And Craig Johnson is quite impressive in a triple role, playing not only Richard's two brothers, but his mother, as well.
Add Joseph Papke's thundering, percussive music and you have a passionate, powerful production that resonates long after the last shouts have echoed off the tin walls.
Yay. A little sad about the swipe at the woman playing Anne, but she did not have her best performance the night the STrib reporter saw it. That's the nature of live theater, and not much to do about it.
Auditions for Debbie Does Dallas went well. There was a reporter from MPR there, who is doing a piece on the show from beginning to end. Rock. We've also got a hell of a strong cast now.
Still need a stage manager for Streetcar. Oy.
(Don't want to be at work.....)
In other theater news, Theatre de la Jeune Lune of Minneapolis will be given the 2005 Regional Theatre Tony Award for its artistic achievement. This makes the Cities and Chicago the only two cities in the country with three Tony-award winning theatres. Rock on.
A compelling 'Richard'
Lisa Brock, Special To The Star Tribune
When the winners write the history, the losers come off the worse as a result. Was Richard III the complete blackguard portrayed in Shakespeare's play? Probably not. Does that make his portrait of a villain any less fascinating? Definitely not, as Starting Gate Productions' current airing of "Richard III" demonstrates with relish.
This unrelentingly bloody tale of a younger son willing to murder all who stand in the way compels through its sheer theatricality, and director Zach Curtis keeps that element front and center. Actor Garry Geiken literally transforms himself into the title role in the opening monologue, his body taking on Richard's deformities as he describes them. Geiken creates a villain who revels in his ability to don a mask and who enlists the audience at the outset as co-conspirators and cheering section.
Whether he's seducing the widow of a man he recently murdered or playing the loving uncle to the two nephews who will be his next victims, this Richard isn't mitigated by even a ghost of a conscience or a shred of sympathetic motivation; rather, he's a consummate actor who is simultaneously astonished and emboldened by the success of his own performances. Geiken revels in this aspect of the role, making Richard a cunning clown as he milks every drop of black comedy he can out of the lines. Curtis further enhances this production's focus on dissembling theatricality through the bold move of casting Craig Johnson in three roles: as Richard's two brothers, Clarence and King Edward, and his mother, the Duchess of York. Johnson more than does justice to all three roles, but particularly shines as the hapless Clarence, offering a gentle study in bewildered pathos mingled with flights of luminous lyricism. The rest of the cast members acquit themselves with varying degrees of success. Pete Colburn turns in a nicely nuanced performance as Hastings, while Sally Ann Wright brings passion and bitter humor to the role of Queen Margaret. Stephanie Lein as Anne, on the other hand, struggles to make her capitulation to Richard convincing, weakening the impact of the famous wooing scene. Steven M. Kath's bleak set creates an aptly neutral playing space while Joseph Papke's percussive music nicely underscores the dramatic momentum.
'Richard III' resonates
BY ROB HUBBARD
Pioneer Press
If you're a traditionalist when it comes to Shakespeare, you should know two things about Starting Gate Productions' version of "Richard III." First, there's little in its set or costumes to suggest royal pomp or faithfulness to its era. Instead, it places the action in what looks like a shantytown alleyway lined with corrugated tin panels.
But if what you desire is a "Richard III" that strikes to the heart of the author's intent and brings his poetry to vibrant life, then you'll seldom find such faithfulness as this. Performed within the intimate confines of downtown St. Paul's Loading Dock Theater, it's carried out in a claustrophobic closeness that makes the tale of the power-mad murderer deeply engrossing and appropriately chilling.
You may not expect such serious fare from someone who heads a theater company called Fifty Foot Penguin, but Zach Curtis is a skilled director with a blossoming career. And he's not only found a first-rate Richard in Gerry Geiken, but has surrounded him with a cast that could be described as an all-star team of local small-theater actors, including a few who run their own companies.
And it's easy to see why so many of these talented actors chose to participate in this production: They clearly understand that there's no such thing as a weakly written character in Shakespeare. All have opportunities to paint a vivid portrait and apply myriad shades of color to their performances.
While some renditions of "Richard III" hinge solely upon a star turn in the title role, this is one that lets you see the layers of motivation in each character around him, leaving one to contemplate what can happen when one person is resolute while others stand conflicted.
And Geiken offers a magnetic version of one of literature's great villains, bringing Richard to life in all of his manipulative, slimy, charming, funny, horrifying glory. And it's to Geiken's credit that an audience can find something to pity in Richard as he eventually succumbs to guilt and paranoia.
But this production is filled with fine performances, and, among them, two others stand out. Sally Ann Wright creates a bitter and vitriolic Margaret, the former queen who unleashes her fury upon Richard's retinue. And Craig Johnson is quite impressive in a triple role, playing not only Richard's two brothers, but his mother, as well.
Add Joseph Papke's thundering, percussive music and you have a passionate, powerful production that resonates long after the last shouts have echoed off the tin walls.
Yay. A little sad about the swipe at the woman playing Anne, but she did not have her best performance the night the STrib reporter saw it. That's the nature of live theater, and not much to do about it.
Auditions for Debbie Does Dallas went well. There was a reporter from MPR there, who is doing a piece on the show from beginning to end. Rock. We've also got a hell of a strong cast now.
Still need a stage manager for Streetcar. Oy.
(Don't want to be at work.....)
In other theater news, Theatre de la Jeune Lune of Minneapolis will be given the 2005 Regional Theatre Tony Award for its artistic achievement. This makes the Cities and Chicago the only two cities in the country with three Tony-award winning theatres. Rock on.