theater review; the prince in us all
If you are a drama lover of any kind and you don\'t take him to the theater until he leaves Brooklyn Conservatory of Music after his show tomorrow night, you will be angry.
Invite Simon Russell bill, an extraordinary British actor, who is making the most enlightening trip of his life through the corrupt dark world of Denmark and shadow
Full of imagination for the unfortunate heir to his throne.
In this concern
The breathtaking touring of the Royal National Theater directed by John Kane, the usual intellectual distance between Hamlet and his audience magically disappears.
To put it simply, he has become one of us.
Now, you might argue that Hamlet has always been a man, because he has shown his inner thoughts in a windy monologue, and also because he is wearing regrets like a hair shirt.
But how often will you leave Shakespeare\'s most famous tragic performance and you really understand this guy?
Or have you been able to follow him through every step of his anxious journey like your own spiritual journey? Mr.
Russell bill, you might find hanging out in front of the water dispenser in the office and seeing him here for the last time as an Igo now gives us a charm --
Hamlet of Liberty, who lives not next door, but in the heart of each of us.
Don\'t get me wrong.
This Hamlet is not an ordinary man with no characteristic. Mr.
Russell bill offers enough personality traits to keep the analyst happy for years.
But he and Mr.
Caird has just envisioned the gesture of the King of melancholy as the final Student Prince, focusing on students.
It was a hamlet, and when the night began he was still eager to return to his natural elements, and the death of his father forced him to leave the university. Mr. advertising
Russell bill is short in size, short in size, and a seemingly gentle face masks his ability to express clearly, which is not traditionally young.
However, when we first saw him full of resentment and curiosity about his father\'s coffin, his Hamlet looked as fragile as a newly hatched chick.
At present, his only armor is the \"words, words\" He has accumulated in his studies \".
When he observed that \"a person may smile, still a villain\", he carefully wrote this in the little diary he carried with him.
For the next three hours, Hamlet took advantage of both his academic wisdom and eventually gave up his academic wisdom to understand his place in a wrong world.
Tim Hartley\'s solemn and simple stage design is appropriate to rely on the constant re-arrangement of trunks and valves.
Because this childish person is indeed entering a reality that he has only dealt with in abstraction before.
This Hamlet will always find comfort in the well.
Becomes a phrase or ego, but is hurt by the reality behind it.
In the same way, you understand his affinity for traveling players and performances.
It allows him to exist completely in the world of metaphor.
Here, however, he was quickly brought to Earth at a very precise moment (
Just before the Hecuba monologue)
I believe that the real environmental impact is too great.
This is a difficult and painful process.
Russell bill insists that we will record all the pain levels.
Even pretending to be crazy, this hamlet is extremely open and transparent even in his emotions.
The loneliest thing about him is-
In his intellectual superiority, in his isolated royal status, in his privileged knowledge of the crimes against his father.
More generally, he is experiencing a man\'s overwhelming loneliness, his first intimate contact with death, and his world has been subverted.
I have never seen a Hamlet, and he has apparently been trying to transcend his isolation.
In one scene after another, with ofiya (
He and his school comrades Rosencrantz and Guildenstern (
Christopher Stanz and Paul basil)
With his mother Gertrude. Sara Kestelman)
You see him trying to get in touch with like-minded people and throw out the coded signals that he prayed they would explain correctly.
In teenagers, you will find that there is a sad, crazy desire to be understood.
When he realized that he had been betrayed, he was in a state of madness and now returned to evil.
However, when this Hamlet, like many young people who are about to grow up, judges the people of his family harshly, he is equally strict with himself.
In the opening scene, he compared himself to Hercules, which is the infinite self. contempt.
There is also an important sweetness for him, which goes a long way in explaining that he can\'t kill. Claudius (Peter McEnery)
A cunning evaluator of the weaknesses of others, feels this sweetness.
Not long after Hamlet killed proius by mistake. Peter Blythe)
Claudius sacrificed his chest for Hamlet\'s sword and he knew what he was doing.
The boy could not hold on to the end.
Of course, this is a mistake when Claudius repeats this gesture at night.
We could have told him.
We have witnessed this change.
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Kelly, Director General (
At present, \"Jane Eire\" and (
In the fictional Royal Shakespeare production of Nicholas nickby, he used the story drama technique of becoming his signature.
He created a self.
As a circle of storytellers, the performer consciously summoned the scene, but he did not believe the idea.
His performance largely reflects an actor.
Friendly and open to exploration.
Although I could have done this without much church background music, it means that we are in a proper cosmic mindset
Caird always puts characters on top of concepts.
Unlike Peter Brook\'s Zen
Last month, in a seasoned, cut-through Hamlet seen at the Academy, the film never distorted the actor into unnatural poses for the sake of the subject.
Said no one else in the cast with Mr.
Russell bill should not look down on others.
In fact, having seen this \"Hamlet\" in London last fall, I was surprised how much the people who supported the show grew up in their part, at the same time, it was difficult to achieve spontaneity after several months of touring.
A large part of it comes from Mr.
Caird generously lets his performers take the time to determine the motivation. (
The play was laid back for three and a half hours, but never slackened. )
For example, this work was inspired by the use of eufilia, creating a real collusion between her and Hamlet and the physical comfort of the family.
The orphia was allowed to witness more shady events than usual --
Behind the Throne.
Her performance was very bad when she gave in to madness.
Bradshaw, as a strange concert hall, really seemed inevitable.
I\'m less than willing to believe Gertrude\'s idea of browsing old wedding memorabilia before meeting her son in her bedroom.
And the imposing Ms.
Keith Telman expressed his mother\'s concerns with a fierce eagle-like nature, and her Gertrude seemed a bit too majestic to ever be stuffed into Mr.
The cunning, strange fashion of McEnery
His ponytail and earrings reminded me of a maverick record producer. )Mr.
Blythe is not enough to be a convincing gravedigger.
But he left some delicious changes on his other character, Polonius, and found something quite touching in the old man\'s enduring vanity.
It says a lot about this opening.
Polonius is more than just a stupid and interesting figure, like Hamlet, and we sincerely mourn his death.
The advertisement of Hamlet
Russell bill gave him to us, not so much as he was a cynical man as he was a bitter man, even if the world gave him every reason to be a man. Mr.
It is precisely because his Hamlet is still full of hope that Russell bill has been so deeply influenced.
Although he seems to record the vibration of every thought with an amazing and simple sobriety, he has nothing simple.
The excellent actor understands that people are always a dense mixture of impulses, and we are constantly aware of the operation of \"thousands of natural shocks\" on Hamlet, a very sensitive human instrument. Mr.
Russell Bill\'s performance is full of contradictions. You don\'t even think the monologue is free.
In the first example, when Hamlet laments his \"too, too solid flesh,
Russell bill stretched out his thickness.
Awesome and disgusted fingers.
More than three hours later, when Hamlet was about to die, the actor repeated this simple action.
What is staged again is earth-shattering.
As this Hamlet grows, he is still, in some ways, confused about the mysteries of life as ever.
What he hopes will eventually happen: his solid body is indeed melting into non-existence. For this all-too-
However, the perfection of human Hamlet is not satisfactory at all.
He accepted his fate, but he still had many problems.
That\'s why he broke our hearts.
Directed by John Kane;
Tim Hartley\'s set;
Paul Pyant\'s lights
Music by John Cameron
Director Terry King;
The sound of Christopher Shutt;
Voice work at Patsy Rodenburg.
Works of the Royal National Theatre performed by Bruce A. Of Brooklyn Academy of Music.
Ratner, chairman of the board; Alan H.
Fishman, chairman of the BAM movement;
President Karen Bruce HopkinsJoseph V.
At 30 Lafayette Avenue, Ashland Square, Greenburg, Brooklyn, Howard Gilman Opera House, Brooklyn Conservatory of Music.
And: Simon Russell bill (Hamlet)
Sylvester Moran (
Father and King of Hamlet), Simon Day (Horatio)
Peter McKenley (Claudius)
Sarah Keith Coleman (Gertrude)Peter Bright (
Proius and The Gravedigger)
Christopher Stanes (Rosencrantz), Paul Bazely (Guildenstern)
Catherine Bradshaw (Ophelia).
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A version of this review was printed on page E00001 of the National edition on June 1, 2001 with the title: Drama Review;
Prince of all of us