I also found the music, by Michael Thurber, distracting rather than enhancing, with hokey, maudlin strings and piano used too heavily between scenes. Ali, who grew up in Kenya, was grappling with how — and whether — to proceed. © 2020 Guardian News & Media Limited or its affiliated companies. James McAvoy is Lord Morpheus, who descends into hell to confront Lucifer (Michael Sheen), with Riz Ahmed, Miriam Margolyes and Taron Egerton also in the ensemble. In one interview segment, Ali described the play as a “long, slow, beautiful release of Richard’s humanity,” but it’s hard to square that with the production’s framing of Bolingbroke’s revolution as akin to Black Lives Matter protests. Plus: Neil Gaiman’s The Sandman is an all-star thriller, Hannah J Davies, When Ali was looking for audio productions on YouTube, the most recent Shakespeare radio play he could find was a 1930s production of “Julius Caesar” starring Orson Welles. There was never the sense of a character speaking lines out into an empty space. Broadcast from Monday to Thursday this week and also released as a podcast, their production of Richard II is led by Moonlight’s André Holland in the title role, and features a cast predominately made up of people of colour.
(There’s an irony here, as Holland comes off as too smart to be the ineffectual king we’re meant to see.). But Ali wanted options.
... Richard II. He let out an expletive and, holding up the recorder, said, “It’s dead.”. “That’s great,” Ali said. Holland, he said, had a particularly strong grasp of how to imbue his voice with emotion. Toilet roll shaming at the supermarket, fights in pharmacy queues, shaky tricycle practice: it’s all there in bitesize chunks. ‘Richard II’ Starring André Holland: Theater Review Unable to perform at the Delacorte, the Public takes its production of “Richard II” to radio, and the result is surprisingly intimate. (The Public has not announced when it might resume live performances.). Shakespeare’s histories don’t sit so neatly in contemporary categories; one may see the king as a tragic hero, undone by his flaws, not just the misguided antagonist. Sometimes her voice swelled rhythmically; at other times, she slung her words like an attack, dynamically stretching her syllables. This week, Nat and Emma show how changing your mind about something can lead you into a totally different life. “It was like, ‘What does an old, dead white guy from 400 years ago have to say to me right now?’” Ali said. re-released episode of Twenty Thousand Hertz.
The tale of a self-centered king dethroned by his cousin Henry Bolingbroke, a man with the support of the masses, is rarely produced, Ali said, because it assumes familiarity with a political and social context that modern audiences don’t have. You say you want a revolution. Nicola Kelly, Fri 10 Jul 2020 06.00 BST
“I had no idea how rich, rewarding and complex what we were making would become.”, How André Holland and Company Brought ‘Richard II’ to Radio. They will also be livestreamed on the station’s website and then available as a podcast.). Miriam A. Hyman, a hip-hop artist as well as an actor, showed meticulous attention to modulation and tone as a gender-bent Bolingbroke. During one, Holland had just finished recording Richard’s speech in Act 3, Scene 2, in which the king is overjoyed to set foot on his native English soil after a harrowing journey across the Irish Sea, against the backdrop of his packed Brooklyn bookcase. When the coronavirus swept through the country in March, Ali, a busy Off Broadway director, had been preparing to stage “Richard II” at the Delacorte Theater as the opening production of the Public Theater’s free Shakespeare in the Park series, starring André Holland (“Moonlight”) in the title role.
Holland said in a phone interview last week that Richard’s final-act soliloquy, in which he reflects on his own humanity, had been building inside him for years, and that, as a Black man, he needed to speak it. (The serialized episodes, accompanied by interviews, will air nightly July 13-16 at 8 p.m. Eastern time on WNYC. But the rumbling you’ll hear in the background isn’t of the producers’ creation like the tanks and helicopters. Plus: Neil Gaiman’s The Sandman is … De Silva obliged with a pointed ejection, followed by a wracking hack. André Holland takes on Richard II – podcasts of the week WNYC offers four days of Shakespearean delights, starring the Moonlight actor.
If you’ve caught Hamilton fever courtesy of Disney+, why not tune into a re-released episode of Twenty Thousand Hertz to hear how the show’s soundscape drives the Broadway smash hit. Highlights include Stevie, one of the producers, deliberating with her grandma about whether to go on a socially-distanced blind date (it happens, but she doesn’t sound all that enthused); a weirdly calm woman in the early stages of labour having contractions as she’s interviewed; and a zookeeper on how the animals were held captive. “Can you do it once high and sharp, and then again exaggerated and ugly?” he asked. All rights reserved.
One of Shakespeare’s seldom-staged history plays, it was last done at the Delacorte in 1987, starring Peter MacNicol. “I can’t wait for you all to hear it.”, The Public, like most nonprofit theaters, is in a precarious financial position because of the pandemic. The WNYC audio team delivered microphones, recorders and XLR cables to the actors, who recorded at homes across the globe, some from towel-lined bathrooms and beneath blankets.
Casting a Black woman as Bolingbroke avoids the unsavory racial implications that would come with a white man unseating a Black king, but what it says about gender and power in the context of the Black community is left murky. Heavyweight turns from reconciliation-matchmaker show to lockdown-soother in the latest series of special check-ins. Both dukes are exiled, but Bolingbroke soon returns with the support of the people to depose the king, who realizes too late that carelessness has cost him his title, his honor and his legacy. Why not try: Gurls Talk | The Art of Rave with Becky Hill | Why Mums Don’t Jump, Available for everyone, funded by readers. In our new series about strangers and their secret lives, callers tell Leah Green what’s going on behind closed doors. The Public’s production — each segment an hour, broadcast on consecutive days, and available to listen to as a podcast — was bookended and burdened by interviews with cast members and Shakespeare scholars. A radio “Richard II” won’t change how much I am sorely missing Shakespeare under the stars in Central Park this summer. Indecisive and amenable to the whims of his buddies, he is approached to be an arbiter in the fiery dispute between two dukes, one of whom is his cousin, Henry Bolingbroke. My favourite bit of the podcast is usually the opening section, when the presenter calls his friend Jackie, who cuts him down to size in the way only an old friend can.
“So we were just like, ‘OK, it’s pouring in this scene now.’”.
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