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. “And with the military, is it boots on the ground, or are there tanks and helicopters?”. In many ways the play works like a protracted chess game: The pieces are arranged on the squares early, and the first moves foreshadow the final turn and checkmate. 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.
‘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. “This is sounding so good,” Ali told the dozen people on the call. The actors had to be their own technicians, responsible for checking battery levels before recording sessions. “I’ve been chomping at the bit to say those words for so long,” he said.
(The Public has not announced when it might resume live performances.). “I’d just shut off the lights in my apartment, close my eyes and let his extraordinary vocal instrument wash over me,” he said.
There were several solid performances: Phylicia Rashad, as the grieving Duchess of Gloucester, revealing an almost physical grief; Dakin Matthews, chewing on John of Gaunt’s meaty dying speech; and Jacob Ming-Trent, with the arresting energy of a preacher at a pulpit as Carlisle.
© 2020 Guardian News & Media Limited or its affiliated companies. And Bolingbroke’s motives — whether he has always wanted the crown, whether he actually wanted Richard dead — are unclear. Holland, like a majority of the actors, is a person of color, preparing to tackle a rarely performed history play in which the protagonist is traditionally white. “But this format challenges them to think more broadly when dealing with sound.”. The opening episode sees a cocktail waitress being rescued by The Sandman. In our new series about strangers and their secret lives, callers tell Leah Green what’s going on behind closed doors. “There’s so much you can do,” he said. Last modified on Fri 10 Jul 2020 06.26 BST, Free Shakespeare on the Radio (from 13 Jul)With venues across the globe still shuttered, New York’s public radio station WNYC and arts organisation The Public Theater have teamed up to bring their annual open-air Shakespeare performance to the airwaves. “But radio actually provides a way to circumvent this challenge that live theater doesn’t,” he said. Yet he enjoyed the challenge of telling a story solely through speech and sound effects.
On the list of questions you’ve probably never considered is how to describe what spitting sounds like.
Why not try: Gurls Talk | The Art of Rave with Becky Hill | Why Mums Don’t Jump, Available for everyone, funded by readers. 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. But Ali wanted options.
WNYC offers four days of Shakespearean delights, starring the Moonlight actor. Hannah Verdier. Sanjit De Silva’s character, the Duke of Norfolk, had to spit early in the play. 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. And with its themes of societal chaos and woeful leadership, its message is sure to cut through some 400 years on. “You can simply insert narration clarifying the stakes.” (Enter Lupita Nyong’o, who recorded that narration.).
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. André Holland takes on Richard II – podcasts of the week WNYC offers four days of Shakespearean delights, starring the Moonlight actor. ‘Richard II’ Review: A Radio King With a Tottering Crown, André Holland during rehearsals for the Public Theater’s radio presentation of “Richard II.”. “Can you do it once high and sharp, and then again exaggerated and ugly?” he asked. 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. 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.
But two months later, the theater announced that “Richard II” would go on as a radio play with a majority of the Central Park cast intact. Footsteps echoing on the palace floor, crowds cheering in the distance — all provided dimension and made the actors, themselves groaning and grunting and sighing, sound remarkably present. It’s a jungle of context, enough to get lost in.
(There’s an irony here, as Holland comes off as too smart to be the ineffectual king we’re meant to see.).
There was never the sense of a character speaking lines out into an empty space. led by a suave André Holland in the title role. And, as they tell Leah, you might feel all the better for it. Then, a moment later, he grimaced. “Richard II,” the less popular and less produced of the two “Richards,” introduces a changeable king.
Because one voice for multiple characters could be confusing on the air, the production expanded its cast from the original Central Park plan, hiring a total of 26 performers rather than opting for customary doubling of roles like Gaunt and the gardener. Available on wnycstudios.org, Apple Podcasts, Spotify, Google Play, Stitcher and other audio streaming services.
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