Spoleto: the American premiere of Don John
OK, so he has a face like Clive Owen. OK, so he has a physique like Matthew McConaughey. OK, so he’s also a gymnast — limber, strong, durable.
OK, OK, OK. Enough, already. And by the way, so what? Some of us know how to type. Really, really, really, really fast.
Who does Mr. Fabulous think he is? Don Juan?
Well, yes. In fact, he does.
Gardarsson originated the lead in the American premiere of Don John. The play is the contemporary update of the classic myth of Don Juan, the original ladykiller, the first international playboy, the proto-womanizer, the Ur-man of mystery.
“Every man has wanted to be Don Juan and love 1,000 women at some point in his life.” Gardarsson says by phone from London. “It’s really interesting to play a devil like that.”
Sheesh, Señor Gisli. You don’t have to rub it in.
Director Emma Rice adapted the story from Mozart’s operatic version, Don Giovanni. But she set the story in the context of a carnival to suggest the uninhibited and unleashed sexuality of the hero. In fact, the staging is extremely physical. Much of what’s communicated between characters happens with the body.
But the master is Don John. He’s a real 60-minute man. He prowls and then he comes over. But never too soon. He smokes, he drinks. He takes pleasure in not just his women but in seeing other men looking at him looking at women who are looking at him.
And no one stops him. Why? Because he behaves badly, and it rubs off easily. Others follow in his wake, like sloppy seconds. Yet he’s convinced he’s not such a bad guy, Gardarsson says, trying to explain some of the tangled up psychology at work inside Don John’s head. He knows he’s breaking hearts, but he’s lost. He’s looking for something, but he doesn’t know what it is.
And — in the hope that we hate him an eensy-weensy bit less — it turns out he’s in pain.
Bloggers We Love
Bridgette Redman and Lansing Theater
Drew McManus' "Neo Classical" at the Partial Observer
Marc Moss (Missoula, MT artist)
Mary Louise Schumacher's "Art City"
Other Great Sites
American Composers Orchestra
Arts & Letters Daily
Center for Arts and Culture
Cultural Policy and the Arts National Data Archive
National Arts Journalism Program
NEA Arts Journalism Institute for Dance Criticism
NEA Arts Journalism Institute in Classical Music and Opera
NEA Arts Journalism Institute in Theater & Musical Theater
New Music Box: American Music Center
USC Annenberg/Getty Arts Journalism Program
AJ BlogsAJBlogCentral | rss
Terry Teachout on the arts in New York City
Andrew Taylor on the business of arts & culture
rock culture approximately
Laura Collins-Hughes on arts, culture and coverage
Richard Kessler on arts education
Douglas McLennan's blog
Dalouge Smith advocates for the Arts
Art from the American Outback
For immediate release: the arts are marketable
No genre is the new genre
David Jays on theatre and dance
Paul Levy measures the Angles
Judith H. Dobrzynski on Culture
John Rockwell on the arts
Jan Herman - arts, media & culture with 'tude
Apollinaire Scherr talks about dance
Tobi Tobias on dance et al...
Howard Mandel's freelance Urban Improvisation
Focus on New Orleans. Jazz and Other Sounds
Doug Ramsey on Jazz and other matters...
Jeff Weinstein's Cultural Mixology
Martha Bayles on Film...
Fresh ideas on building arts communities
Greg Sandow performs a book-in-progress
Exploring Orchestras w/ Henry Fogel
Harvey Sachs on music, and various digressions
Bruce Brubaker on all things Piano
Kyle Gann on music after the fact
Greg Sandow on the future of Classical Music
Norman Lebrecht on Shifting Sound Worlds
Jerome Weeks on Books
Scott McLemee on books, ideas & trash-culture ephemera
Wendy Rosenfield: covering drama, onstage and off
Chloe Veltman on how culture will save the world
Public Art, Public Space
Regina Hackett takes her Art To Go
John Perreault's art diary
Lee Rosenbaum's Cultural Commentary
Tyler Green's modern & contemporary art blog