Monthly Archives: June 2014
Walk down any crooked street in New York City’s Greenwich Village, and you will stumble upon a variety of historical placards mounted to random townhouses celebrating their past creative inhabitants: “Edgar Allen Poe wrote ‘The Cask of Amontillado’ here” (85 W 3rd Street) or “Thomas Paine died here’” (59 Grove Street). This particular neighborhood brims with artistic ghosts, and that is exactly what inspired Paul Rudnick to write his comedic play, “I Hate Hamlet.”
Rudnick’s muse is legendary actor John Barrymore, who occupied the penthouse of 132 West 4th Street in 1917. The playwright leased the space 70 years later, admittedly becoming more and more fascinated by Barrymore’s history with the apartment. As he wrote in The New Yorker in 2007, “The more I absorbed, and the more months I spent under Barrymore’s bastard Jacobean roof, the more I felt moved to write something set at the address. Someone or something had led me to these quarters and would not be denied.” Enter the characters of television actor Andrew Rally and the ghost of John Barrymore.
While it is significantly Shakespearean to introduce a ghost-haunting to a story – especially one revolving around playing the role of Hamlet – the spirit of John Barrymore is not one to utter a vague command and then disappear, trusting that his charge will be carried out. No. John Barrymore will always plot to steal the spotlight, even from the afterlife. And while he does not task Andrew Rally with avenging his death, per se, he does prompt the character to carry on his legacy by playing Hamlet. Or rather, by playing Hamlet well.
“Andrew, who is Hamlet? A star,” says John Barrymore in the play. “The role is a challenge, but far more—an opportunity. To shine. To rule. To seduce. To wit— what makes a star?”
The banter between modern day actor and acting legend ghost is endless, and one can imagine Paul Rudnick carrying out similar conversations while wandering through Barrymore’s New York apartment. For Intrepid’s part, Fran Gercke will be giving voice to Andrew Rally, while Ruff Yeager will step into the role of John Barrymore. The two will be joined by the powerhouse talents of Dagmar Fields, Brooke McCormick Paul, Gerilyn Brault and Tom Stephenson.
While Ruff Yeager adds a very specific dramatic flair to the role of Barrymore, the part of the legendary actor has historically been difficult to cast. As Rudnick explained it when discussing his own Broadway opening of the show, “The audience needed to believe that whoever played Barrymore, from the instant he stepped onstage, was an Olympian Hamlet, a devastating seducer, and everyone’s favorite scoundrel.” Unfortunately for Rudnick’s production, this meant employing a notoriously ill-behaved British actor named Nicol Williamson. Despite Williamson’s dramatic similarities to the theatrical icon he would be playing, the actor’s catastrophic temperament eventually upstaged his own acting credentials. The play closed after a one-month run in a cloud of scandal.
“I had never spent time around a world-class, drain-the-keg loon before,” writes Rudnick, after detailing an account of Williamson physically striking the actor playing Andrew with a sword during a sequence of onstage dueling. That actor not only immediately left the stage, but also the entire production. It was the last in a series of already unbelievable events, that included, among other things, midnight phone calls demanding script revisions and entirely missed performances.
While Intrepid anticipates that its summer season opener will no doubt be riddled with noteworthy behind-the-scenes stories, it is safe to say that the drama on the stage will be enough entertainment for any audience. – Tiffany Tang
“I Hate Hamlet” previews June 27 and runs through July 19.
Tickets on sale now.
One would assume that a “comedy of manners” written in 1930 would seem rather tame by our modern standards. However, reactions and reviews of Noël Coward’s Private Lives, which will be read on Monday night as the next installment of Intrepid Shakespeare’s Staged Reading Series, have been anything but that.
“The critics described Private Lives variously as ‘tenuous, thin, brittle, gossamer, iridescent, and delightfully daring,’ said the playwright. “All of which connoted in the public mind cocktails, repartee and irreverent allusions to copulation, thereby causing a gratifying number of respectable people to queue up at the box office.”
The story of Private Lives revolves around the dissolved marriage of Elyot and Amanda, who chance upon each other while on their respective honeymoons with their new spouses. As luck would have it, they are rooming next door to each other in the same luxurious coastal French hotel, and even though they are seemingly outraged at the other’s presence, it is soon evident that the flame of their former relationship is not completely smothered, but merely smoldering. Chaos and hilarity ensue as the play moves from the Deauville shore to a Paris city apartment and Elyot and Amanda attempt to sort out both their feelings for each other and their actions with regards to their new spouses.
“What makes this script so wonderful and funny,” says Jonathan Sachs, who will be portraying Victor, “is that it touches on some truly real feelings about marriage, divorce, infidelity, remarriage, abuse (verbal and physical) and most of all whether a past love will consume the present relationship.”
The play premiered in London in 1930 to some controversy, as it was almost banned because of the romantic portrayal of characters who are divorced and married to others. Coward had to plead his case to the Lord Chamberlin to be granted permission to open in the West End. The play moved to Broadway a year later with Coward playing Elyot opposite Gertrude Lawrence as Amanda. Jill Esmond and Lawrence Olivier (who would later marry) rounded out the New York cast as Sybil and Victor. Private Lives has since enjoyed numerous revivals in both cities, with varying notoriety depending upon the cast.
But what reviewers have found most fascinating about the play is its dialogue. Colleen Kollar Smith, who will be playing Amanda, compares her scenes to something lifted from “The West Wing.”
“I was trying to place my finger on what about the pace and wit of this piece felt familiar,” says Colleen. “It dawned on me later that Coward’s dialogue feels a lot like Sorkin to me. It is so intelligent and there are many layers of wit. So many, in fact, that I found myself trying to NOT laugh because I was afraid I would miss the next joke around the corner.”
Given that Colleen is playing opposite Phil Johnson as Elyot makes trying to maintain a straight face a bit of a challenge.
“It was a futile attempt,” she admits.
Even though the play does tackle seemingly serious themes, the levity of the piece remains unaffected – or perhaps even more enhanced – by the gravity of the situations.
“There’s a knowledge that the world is askew, and with that everything becomes humorous,” explains Phil.
“Reading it out loud is so fun,” says Jo Anne Glover, who will be playing Sybil, “just the rhythm he writes in and the wordplay back and forth between the characters. And, it’s fascinating how progressive this play is.”
Perhaps that is why this 84-year-old play is not only still performed, but still evokes the laughter of familiarity.
“The play takes some of the finer points of farce and weaves them into a wonderful tragic comedy,” says Jonathan. “The audience will find something very personal in what they see and that is what make this piece so special.”
Private Lives by Noël Coward, a staged reading. Encinitas Library, 540 Cornish Drive. Monday, June 23. 6:30 pm complimentary wine/appetizer reception. 7:00 pm reading. $15. Rsvp to firstname.lastname@example.org and pay with cash/check at the door or purchase a reading series subscription.