![]() ![]() Instead of faces, we saw the lights, busily creating the fire effect for the other spectators. At first, from a vantage point on the south, this added the intended intimacy, which is also encouraged by D Martyn Bookwalter’s canopy of greenery covering the entire hall.īut during the last act, from a seat on the new north side, there were problems with sight lines-most notably when the entire cast looks at the light from a distant forest fire, with backs turned toward those of us on the north. The talk is punctuated with brief bursts of physical comedy and telling non-verbal details, as when Serebryakov keeps eating his lunch while everyone else is paying rapt attention to the Wood Demon’s save-the-forest speech.įor the first time, the Taper has become an arena stage, with a small section of seating on the north side. Dwyer’s staging never appears wayward or uncertain. Each role has been cast with at least two actors, so the composition of the cast is likely to change at each performance. ![]() The company worked on this project for three years-about 10 times longer than the time spent on most Taper projects. An earlier translator used “non-stop writing machine,” which might work better for a non-Latin-speaking audience. Only one quibble comes to mind-Zhorzh insults Professor Serebryakov by calling him a perpetuum mobile. The agonies and ecstasies of these people are keenly expressed in this spirited new translation by two Antaeus members, Nicholas Saunders and Frank Dwyer. ![]()
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