2013
Playbill:
Romeo and Juliet (seen June 22)
Fiddler on the Roof (seen May 28)
The Merchant of Venice(seen August 15)
Othello (seen August 14)
Measure for Measure (seen August 16)
Mary Stuart (October 03?)
Waiting for Godot (seen August 13)
The Thrill (seen August 13)
Of the 2013 season, I have seen, so far, those
above in bold (see some assessments later on). I also attended several “Forum”
activities, such as the “Shakespeare
Slam” in Toronto (in May); “Budrus”,
a revealing documentary on a small village’s successful resistance to the
building (or rather to the offending “tracé” should I say) of Israel’s “fence”
that would have isolated the village, in Palestine (followed by a Q&A with
one of the producers – a young, very articulate, Jewish woman from Montreal –
directly from Washington D.C., by video-conference); a very touchy session, “Writing About the Right to Die”, with playwright and lighting designer Itai Erdal (How to Disappear Completely – performed
in the afternoon), author Zoe FitzGerald Carter (Imperfect Endings) and playwright
Judith Thompson (The
Thrill), a discussion moderated by Alex Bulmer; Itai Erdal’s production of “How
to Disappear Completely”, narrating
his experience as a son being asked by his mother, a terminal-cancer patient, to
assist her in her suicide, as well as his approach to theatrical lighting (his
profession); Stanley Wells’ address on “Sex and Love in Verona, Venice and Vienna” (after the location of the 3 Shakespeare
plays in the season). Stanley Wells is Honorary President,
Life Trustee and former Chairman of the Shakespeare Birthplace
Trust, emeritus professor of Shakespeare studies at the University of
Birmingham and general editor of the Oxford and Penguin Shakespeare (joined at
one point by Paul Edmondson with whom he edited one of the most recent books
about the “Shakespeare authorship” question – Shakespeare Beyond Doubt
which I had both of them autographed for Cynthia); and Stephen
Lewis’ address on “Disability,
Disillusion and Self-Discovery” (as rousing, and
convincing, a speaker as ever!)
Saw earlier this year “Fiddler on the
Roof”- excellent (better than the one we saw in Toronto a few years ago – to the
extent I remembered!) and “Romeo &
Juliet”, once more!
Added “Waiting for Godot” (at Cynthia’s
suggestion – she loved the play at its première!) to the list of plays I wanted
to see while in Stratford this month. It’s Beckett at his most absurd; two guys
exchanging while waiting for someone that never shows up – a minimalist setup,
and open to all possible interpretations! (I hear from the guy sitting beside
me that this version of the play – written in French at the end of the 40’s –
is based on the 1975 Berlin version – which was directed, I learn afterwards,
by Beckett himself; it has become a standard)! With the company’s most “chevronnés”
actors, Stephen Ouimette (Estragon – gogo) and Tom Rooney (Vladimir – didi),
plus an incredible Randy Hughson in the role of Lucky. The performance was
followed by an interview, carried out by Toronto Star theatre critic Richard Ouzounian,
with Brian Dennehy who plays Pozzo in the play (Dennehy, forever the raconteur,
delighted us with stories of his beginnings on Broadway. We also learned,
through Dennehy, that Ouzounian attended that celebrated Jesuit college,
St-Regis, in NYC!)
That same evening, saw “The Thrill”, a play commissioned by
The Festival, with Lucy Peacock – world première of course. Not particularly
enthused by it, but a good prelude to the Forum’ program the morning after (see
above).
Then, the première of “Othello” at the Avon theater – I find
it so convoluted (mind you, this is a very common treat of Shakespearian plays!)
but a stage design and a production that are remarkable! Quite outstanding production (I liked the decors; very dramatic!) The critics (G&M;
The Star) that I have read (yes, Ouzounian!) were ecstatic –best ever “Othello”
at the Festival!
The première of “The Merchant of Venice” did not disappoint
either! A marvelous Shylock (Scott Wentworth – I seem to recall seeing him,
years before, as a soldier commander in Lope de Vega’s “Fuente”; he is also the
star, Tevye, in this year “Fiddler on the Roof” which I have seen at its première
in May)! Set up in the 30’s in Italy (well done set and production at the
Festival Theater!), I don’t think I have ever seen before the anti-Semitism played
out so markedly in that play…Cimolino directed - he and Wentworth were both the stars!
Saw only the first part of “Measure for Measure”; the play was too
long for me to see it all and be on time for Wells’ talk. Particularly struck
by the debate it poses about public policy and personal choice! I also like
Geraint Wyn Davies – he plays here the Duke and the “friar”!
Stopped and Langdon Hall (picture) for lunch on the way back
to Toronto: in the garden (beautiful sunny day!) As tasteful and pleasant as
ever! Dinner a few times in Stratford at the Taverna.
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August 18, 2013
Annex
Synopsis (from
Wikipedia) of “Othello” that helped me to follow the plot!
The play opens with Roderigo, a rich and dissolute gentleman, complaining to Iago, a high-ranking soldier, that Iago has not told him about the secret marriage between Desdemona, the daughter of a Senator named Brabantio, and Othello, a Moorish general in the Venetian army. He is upset by this development because he loves Desdemona and had previously asked her father for her hand in marriage. Iago hates Othello for promoting a younger man named Michael Cassio above him, and tells Roderigo that he plans to use Othello for his own advantage. Iago is also angry because he believes, or at least gives the pretence of belief, that Othello slept with his wife Emilia. Iago denounces Cassio as a scholarly tactician with no real battle experience; in contrast, Iago is a battle-tested soldier. By emphasizing Roderigo's failed bid for Desdemona, and his own dissatisfaction with serving under Othello, Iago convinces Roderigo to wake Brabantio, Desdemona's father, and tell him about his daughter's elopement. Iago sneaks away to find Othello and warns him that Brabantio is coming for him.
Before Brabantio reaches Othello, news arrives in Venice that the Turks are going to attack Cyprus; therefore Othello is summoned to advise the senators. Brabantio arrives and accuses Othello of seducing Desdemona by witchcraft, but Othello defends himself successfully before an assembly that includes the Duke of Venice, Brabantio's kinsmen Lodovico and Gratiano, and various senators. He explains that Desdemona became enamored of him for the sad and compelling stories he told of his life before Venice, not because of any witchcraft. The senate is satisfied, but Brabantio leaves saying that Desdemona will betray Othello. By order of the Duke, Othello leaves Venice to command the Venetian armies against invading Turks on the island of Cyprus, accompanied by his new wife, his new lieutenant Cassio, his ensign Iago, and Iago's wife, Emilia as Desdemona's attendant.
The party arrives in Cyprus to find that a storm has destroyed the Turkish fleet. Othello orders a general celebration and leaves to spend private time with Desdemona. In his absence, Iago schemes to get Cassio drunk after Cassio's own admission that he cannot hold his wine. He then persuades Roderigo to draw Cassio into a fight. The resulting brawl alarms the citizenry, and Othello is forced to quell the disturbance. Othello blames Cassio for the disturbance and strips him of his rank. Cassio is distraught, but, as part of his plan to convince Othello that Cassio and Desdemona are having an affair, Iago persuades Cassio to importune Desdemona to act as an intermediary between himself and Othello, in order to convince her husband to reinstate him.
Iago now persuades Othello to be suspicious of Cassio and Desdemona. Desdemona drops a handkerchief that was Othello's first gift to Desdemona and which he has stated holds great significance to him in the context of their relationship. Emilia steals it, at the request of Iago, but she is unaware of what he plans to do with the handkerchief. Iago plants it in Cassio's lodgings as evidence of Cassio and Desdemona's affair. After he has planted the handkerchief, Iago tells Othello to stand apart and watch Cassio's reactions while Iago questions him about the handkerchief. Iago goads Cassio on to talk about his affair with Bianca, a local courtesan with whom Cassio has been spending time, but speaks her name so quietly that Othello believes the two other men are talking about Desdemona when Cassio is really speaking of Bianca. Bianca, on discovering the handkerchief, chastises Cassio, accusing him of giving her a second-hand gift which he received from another lover. Othello sees this, and Iago convinces him that Cassio received the handkerchief from Desdemona. Enraged and hurt, Othello resolves to kill his wife and asks Iago to kill Cassio. Othello proceeds to make Desdemona's life miserable, hitting her in front of visiting Venetian nobles.
Roderigo complains that he has received nothing from Iago in return for his money and efforts to win Desdemona, but Iago convinces him to kill Cassio. Roderigo attacks Cassio in the street after Cassio leaves Bianca's lodgings. They fight, and Cassio mortally wounds Roderigo. During the scuffle, Iago comes from behind Cassio and badly cuts his leg. In the darkness, Iago manages to hide his identity, and when passers-by hear Cassio's cries for help, Iago joins them, pretending to help Cassio. When Cassio identifies Roderigo as one of his attackers, Iago quietly stabs Roderigo to stop him from revealing the plot. He then accuses Bianca of the failed conspiracy to kill Cassio.
In the night, Othello confronts Desdemona, and then smothers her to death in their bed. When Emilia arrives, Othello tries to justify his actions by accusing Desdemona of adultery. Emilia calls for help. The Governor arrives, with Iago, Cassio, and others, and Emilia begins to explain the situation. When Othello mentions the handkerchief as proof, Emilia realizes what Iago has done, and she exposes him, whereupon Iago kills her. Othello, belatedly realizing Desdemona's innocence, stabs Iago but not fatally, saying that he would rather have Iago live the rest of his life in pain. For his part, Iago refuses to explain his motives, vowing to remain silent from that moment on. Lodovico, a Venetian nobleman, apprehends both Iago and Othello for the murders, but Othello commits suicide with a dagger he had hidden. Lodovico then declares Gratiano Othello's heir and exhorts Cassio to have Iago justly punished.
