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Review: Paradise Lost (2009)
Review: All's Well That Ends Well (2009)
Review: Much Ado About Nothing (2009)
Review: Equivocation (2009)

As in 2008, a 20th century American play is debuting a half-season at OSF in July. It is again directed by Libby Appel.  Then, as now, there is a solid cast. So what's the difference between them; A View From The Bridge won uniformly high praise? Like the man said, "the play's the thing". Paradise Lost is difficult to honor as a "forgotten treasure." A product of the 1930s, the play tells a vivid story of a middle class in decline. What we're supposed to take from it, however, is either inscrutable or overly simplistic, take your pick.

My default position towards All's Well That Ends Well is "Eeeugh." The play isn't written for modern sensibilities, true, but I can't help the disgust I feel towards the treatment of Helena and, worse, her willingness to shoulder the appalling burden that Bertram places upon her. When Diana is describing Bertram's wooing (to Helena!) I just want to slug him.

The fact that I was crying at the Epilogue is thus a testament to the miracle I saw in the New Theatre today.

This year's production of Much Ado About Nothing in the Elizabethan is a sure-fire crowd pleaser. Primary thanks goes to the playwright (an up and comer by the name of W. Shakespeare) in this, one of his most accessible and easy-to-enjoy works. The Company of OSF, however, gives us a surprisingly uneven rendering that might have caused serious grief for a less-bulletproof text. Mustache-twirling, constant yelling... Hey, they can't all be the best of the season, right?

The word on the street is that Equivocation, a new play by Bill Cain that receives its world premiere in this year's repertoire at OSF, is something special - darkly funny, profound and illuminating. The word on the street is bang on - this is a passionate, exhilarating play that is more timely than any work about a turn-of-the-17th-Century acting company has any right to be.

Latest in Developer's Blog

Serendipity 2

The last time I came to Ashland (in early Jume) I got off the bus, walked up the Chattaqua sidewalk, and bumped into Eddie Wallace, who works at OSF and who very, very graciously had a conversation with me (along with the inimitable Amy Richards) about how I could best be served in covering the Festival. I mean come on, I was *nobody* at the time. You know, as opposed to now... ahem... Anyway, we bumped into each other and had a lovely chat.

I just got off the bus a few hours ago. I start to head up the Chattaqua sidewalk and bumped into Eddie Wallace, this time chatting up Jonathan Haugen, Miriam Laube, and Rex Young. He was actually going to stop and chat me up, the loveable mook, but I excused myself so they could continue the conversation. Just, you know, one of those things.

 

Latest in Ashland Blog

News from Ashland for June 13, 2009

The next round of commissions for the American History cycle was announced at a press conference in the lobby of the Bowmer Theatre, details of which can be found here. More details will be posted later tonight.

Apparently, during the June 11th performance of Servant of Two Masters at OSF, Eileen DeSandre fell so ill with food poisoning during the production that she was unable to go back on after intermission. Other shows might pull in an emergency understudy but, with improvisation already a key part of the show, the rest of the cast decided to work it out as they went along. According to the accounts I heard, the audience was none the wiser. Wow.

 

 

Review: Paradise Lost (2009)

Editor rating
 
2.7 User rating
 
0.0 (0)

Rogo (Robert Vincent Frank, left) and Lucy (Sarah Jane Nelson, right) outline their demands for the factory with Leo Gordon (Michael J. Hume). Photo: Jenny Graham.

As in 2008, a 20th century American play is debuting a half-season at OSF in July. It is again directed by Libby Appel.  Then, as now, there is a solid cast. So what's the difference between them; A View From The Bridge won uniformly high praise? Like the man said, "the play's the thing". Paradise Lost is difficult to honor as a "forgotten treasure." A product of the 1930s, the play tells a vivid story of a middle class in decline. What we're supposed to take from it, however, is either inscrutable or overly simplistic, take your pick.

Read more: Review: Paradise Lost (2009)

 

Review: All's Well That Ends Well (2009)

Editor rating
 
4.4 User rating
 
0.0 (0)

Helena (Kjerstine Rose Anderson) embarks on her pilgrimage to Italy. Photo: Jenny Graham.

My default position towards All's Well That Ends Well is "Eeeugh." The play isn't written for modern sensibilities, true, but I can't help the disgust I feel towards the treatment of Helena and, worse, her willingness to shoulder the appalling burden that Bertram places upon her. When Diana is describing Bertram's wooing (to Helena!) I just want to slug him.

The fact that I was crying at the Epilogue is thus a testament to the miracle I saw in the New Theatre today.

Read more: Review: All's Well That Ends Well (2009)

 

Review: Much Ado About Nothing (2009)

Editor rating
 
3.2 User rating
 
0.0 (0)

Beatrice (Robynn Rodriguez) and Benedick's(David Kelly) rivalry gives way to love. Photo by David Cooper.

This year's production of Much Ado About Nothing in the Elizabethan is a sure-fire crowd pleaser. Primary thanks goes to the playwright (an up and comer by the name of W. Shakespeare) in this, one of his most accessible and easy-to-enjoy works. The Company of OSF, however, gives us a surprisingly uneven rendering that might have caused serious grief for a less-bulletproof text. Mustache-twirling, constant yelling... Hey, they can't all be the best of the season, right?

Read more: Review: Much Ado About Nothing (2009)

 

Review: Equivocation (2009)

Editor rating
 
4.4 User rating
 
0.0 (0)

Shag (Anthony Heald) attempts to explain to his acting ensemble the why's of his new play in rehearsal. Photo by Jenny Graham.

The word on the street is that Equivocation, a new play by Bill Cain that receives its world premiere in this year's repertoire at OSF, is something special - darkly funny, profound and illuminating. The word on the street is bang on - this is a passionate, exhilarating play that is more timely than any work about a turn-of-the-17th-Century acting company has any right to be.

Read more: Review: Equivocation (2009)

 

Review: Henry VIII (2009)

Editor rating
 
3.4 User rating
 
0.0 (0)

 

Cardinal Wolsey (Anthony Heald) protests to Queen Katherine (Vilma Silva) that he did not encourage the King to divorce her. Photo by Jenny Graham.

And now, I will begin this review in the most honest way possible: the only thing holding this production of Henry VIII back from being great is the text. It's been 25 years since the last production of this play at OSF and now I know why. Tthe premiere performance on Friday was full of excellent acting, creative staging, pageantry, spectacle... everything you hope for in seeing a play other than... er, the play.

Read more: Review: Henry VIII (2009)

 

Review: The Servant of Two Masters (2009)

Editor rating
 
4.6 User rating
 
0.0 (0)

Servant2009_header

Paul Nicholson was asked at a press event what the must-see production of the season was. Mr. Nicholson gave the "correct" answer, of course - "all of them". Yes yes, true enough, but I don't work with any of these people and I can afford to step on some toes. The must-see production of 2009 is The Servant of Two Masters, one of the most entertaining theatrical experiences I've ever seen.

Read more: Review: The Servant of Two Masters (2009)

 

Review: Macbeth (2009)

Editor rating
 
3.3 User rating
 
0.0 (0)

macbeth_2009_header

The web page for this year's production of Macbeth at Oregon Shakespeare Festival contain a line whose like I don't recall: "there are scenes of witchcraft, the slaughter of a mother and her children, and a decapitated head. There is violence, sensuality and disturbing imagery in the production." Sure enough, this is an intense, savage performance of the Scottish Play.

Read more: Review: Macbeth (2009)

 

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