Red Velvet, Ira Aldridge & the problems and possibilities of Othello My field notes today are exactly that, paragraphs shaped from rough notes made after attending the December 1, 2022 performance of Lolita Chakrabarti’s Red Velvet directed by Cherissa Richards at Crow’s Theatre. Set primarily in 1830s London, bookended by Continue Reading
Field Notes
God Give Me the Confidence of a Straight White Able-bodied Man: Cripping Up for Richard III
He has many names: Tricky Dicky, Richard Plantagenet, the Duke of Gloucester, King Richard III. He is famed for being scheming, manipulative, morally corrupt, and also possesses a nondescript disability commonly alluded to in performance through able-bodied actors feigning a limp, walking with a cane, and adopting a hunch-backed stance Continue Reading
Open Air Shakespeare: “a corrective to an overcitified and artificial life”?
To me, watching Shakespeare performed outdoors is a delicious novelty. I love sitting outside on a blanket or pillow, watching actors and musicians perform in a park alongside trees, rocks, grass, birds, bats, and mosquitos. Ok, maybe I don’t love the mosquitos. This summer I had the good fortune of Continue Reading
Anxious Danes – Anxiety and Surveillance in an Updated Hamlet
Anxious Danes – Anxiety and Surveillance in an Updated Hamlet It is no secret that Stratford’s 2022 season has brought much attention to the Festival in its second year open since the 2020 COVID-19 closures. This season has seen the programming of three world premieres, adaptations of classic stories like Continue Reading
“Himpathy” for the Devil?
Reflections on Hamlet 911. Note: I attended a matinee performance of Hamlet 911 in early August during previews. It is possible that some of the staging I reference below has shifted since then. The creators of Hamlet 911 have the best of intentions – or so interviews and related publicity Continue Reading