Results tagged “lantern theatre” from Drama Queen
This week I'm macking on: Dueling Hamlets. There was this one in New York, that made Christopher Isherwood go all dreamy, and then there's this one in Philly that opens on Tuesday night with one of our golden boys, Rainpan 43's Geoff Sobelle, in the titular role. I don't know how Sobelle will measure up to New York's Camargo, but I'll be judging him against my last, favorite Hamlet, Bill Zielinski, a fine actor formerly of this city, and currently residing in Amsterdam, which is fairly close to Denmark. Zielinski's Dane stalked the Pennsylvania Shakespeare Festival's stage back in 1999, and I can still recall the wild look in his eyes, as a Hamlet who has been shaken to his very core and stands on the precipice of an unjust fate, staring down an unjust descent into madness.
Sobelle, in this interview, plans to play it cooler, a Hamlet as Tom Waits or Bob Dylan. Well good for him, and good for us. If Isherwood says Camargo plays it soft, all the more reason to check out both and be astounded by the continuing malleability of the painted clay that makes up Shakespeare's men. (At left: Waits illustrates the difference between a hawk and a handsaw.)
This week I'm hating on: unpaid blogging. I've got a lot to do, and so do you, but you're probably getting paid for it. I post out of love, and lately, I just haven't been feeling it. However, if you or your organization is interested in throwing a little coin the way of my highly-targeted audience, well, just that little bit would make it all worthwhile. Please consider advertising on Drama Queen or purchasing a package that graces several ArtsJournal blogs at once. There is, of course, a larger post in here about critics as an endangered species, the disappearance of paid arts journalists, and the necessity for online publications to place a monetary value on their arts writers, but I don't know, maybe I'll get around to that once someone pays me to discuss it.
My most recent review, Delaware Theatre Company's Master Harold... And the Boys, got me thinking. It seems like there's a burst of African-American issues-related shows in Philly this season--Driving Miss Daisy, Gee's Bend (which, if anyone cares, I thought had a really clunky script but some excellent acting by Kala Moses Baxter and one of my new favorites on the scene, Kes Khemnu), Sizwe Bansi Is Dead, Resurrection, Day of the Picnic--just about every major theater has one show in its season with this theme.*
I suppose part of the reason for the change is that everyone's capitalizing on the election, but really, it started with a recent thrust of nontraditional casting before Obama became the clear presidential candidate and has just sort of snowballed. And while this mass shift in programming focus is certainly long overdue and welcome, well, it begs the real question: why can't Philadelphia, a city whose population is 45% African American, support a dedicated professional African American theater? Since Walter Dallas' departure and Freedom Repertory Theatre's demise (and that's a whole 'nother long story) no one has stepped in to fill the void, and I'm going to guess it's not because Philadelphians are okay with leaving the issue of inclusion to the whims of the city's various white artistic directors, or catching the random touring urban theater production.
Mind you, I'm not knocking the efforts at diversity being made by any of these other companies. I think it's great for the city and even better for expanding everyone's audience base. But honestly, what is going on here, and why?
*By the way Philly folks, I'm omitting InterAct from inclusion and discussion on this post, as their commitment to programming diversity has been part of their mission since the company's inception.