As theatre is about to re-open streaming is becoming less and less. Here is what is available.
Mangoes From the Valley: Inspired by the migrant experiences of Venezuelan women in Trinidad and Tobago, this piece weaves their stories into one piece and is currently streaming at the Toronto Fringe Festival.
Sanctuary: The new gospel musical, written by Tony winner Billy Porter, is available to watch online as part of New York Stage and Film’s Always On video programming.
The Cordelia Dream The North American premiere of Marina Carr’s play comes to life on screen with the mysterious and tense confrontation of woman and man. When Woman, haunted by her dream of Cordelia and King Lear, confronts Man, their disturbed relationship is exposed. As his protege, she has come seeking enlightenment, but he orders silence in exchange for artistry and concession. Fast forward five years, and she returns again for one final visit. Will the two be able to see eye to eye? Or will the meeting lead to mutually assured destruction? The Cordelia Dream continues to cement Marina Carr’s status as one of Ireland’s most acclaimed living playwrights with her deep insight into the complex nature of families and how we handle the darkness within.
The Wolves Sarah DeLappe’s award-winning play streams for free as part of Lincoln Center Theater’s Private Reels: From the LCT Archives. The Wolves chronicles the experiences of high school girls through their daily afternoon soccer warm-ups and is available through August 15.
Matthew Bourne’s Cinderella and Romeo + Juliet Matthew Bourne ballets premiere on Broadway HD: Cinderella and Romeo + Juliet.
Matthew Bourne’s Cinderella is a thrilling and evocative love story told in dance. A reinterpretation of the classic fairy tale set in London during the Second World War, it features heart-stopping choreography and vivid, truthful characters. Originally mounted in 1997 but recreated as a completely fresh production in 2017, this is one of New Adventures’ most popular and beloved creations.
Matthew Bourne’s Romeo + Juliet is a celebration of youthful energy, talent and creativity both on and off stage. Set in ‘The Verona Institute’ in the not-too-distant future and mysteriously confined against their will by a society that seeks to divide and crush their youthful spirits, Shakespeare’s two young lovers must follow their hearts as they risk everything to be together.
North Coast Repertory Theatre concludes its acclaimed streaming season with the World Premiere of the streamed production of “DR. GLAS.”
Penned by Jeffrey Hatcher (Holmes and Watson) and based on a Swedish masterpiece, this psychological thriller slowly unravels a life-and-death moral dilemma of passion and all-consuming desire. Obie winner Daniel Gerroll (TV’s “The Blacklist) and (film “Chariots of Fire”) brilliantly assays the title role with quiet desperation, growing menace and unexpected humor. Astute theatre-lovers will want to be among the first to meet the memorable Dr. Glas.
Until the Flood AllArts.org Dael Orlandersmith performs her play based on interviews she conducted with the residents of Ferguson, Missouri, in the months following the shooting of Michael Brown. Filmed Off-Broadway at the Rattlestick Playwrights Theater in 2018.
Lines in the Dust Streaming on demand through August 8. New Normal Rep presents Lines in the Dust by Pulitzer Prize-nominated and Obie Award-winning playwright Nikkole Salter.
2010, Essex County, NJ. When Denitra loses the charter school lottery for her daughter, she must find another way to escape from their underperforming neighborhood school. The answer seems like a risk well worth taking, but may end up requiring a bigger sacrifice than she ever could have imagined. Set over a half-century after Brown Versus The Board of Education, Lines in the Dust questions how far we’ve come and more importantly, where we go from here.
Awoye Timpo (The Loophole at The Public Theater) directs a cast including Jeffrey Bean (Amadeus), Melissa Joyner (Maids Door, the FX Original Series Mrs. America), and Lisa Rosetta Strum (She Gon’ Learn at the Emerging Artist Theatre Festival at TADA!, and United Solo Festival on Theatre Row).
Myths and Hymns: Faith Jennifer Holliday, Mykal Kilgore and Anthony Roth Costanzo star in the final installment of Adam Guettel’s song cycle.
The Zip Code Plays: Los Angeles Antaeus Theatre Company highlights the culture and history of six additional Los Angeles neighborhoods with Season 2 of its popular The Zip Code Plays: Los Angeles podcast series.
The latest installments will introduce audiences to the geographically, historically and culturally diverse locales of Echo Park (90026), West Hollywood (90069), Inglewood (90303), Pacoima (91331), North Hollywood (91601) and Monterey Park (91754).
The Destruction of Jane Edgar Rice Burroughs will be spinning in his grave this spring. A new seven-part miniseries, inspired by the infamous film Tarzan the Ape Man, debuts this month.
The Destruction of Jane is an unauthorized parody of the King of the Jungle is told from the point of view of Miss Jane Parker.
Weekly installments premiere on Thursdays.
The miniseries stars stars Paul Pecorino and Rob Eco as Jane and Tarzan, respectively, and features special cameo appearances by Mario Cantone and Randy Rainbow. The show is written by Paul Pecorino and directed by Drue Pennella.
Set in the current COVID-19 pandemic, this comedy follows Jane to the African jungle where she meets and falls in love with the spectacular specimen we all know as the legendary Tarzan. The 1981 Tarzan film became a massive financial hit due to its dizzyingly unintentional bad taste, and screenwriter Paul Pecorino has set out to push these offensively vulgar boundaries even further.
The creative team includes director of photography Erik Paulsen, composers Drew Fornarola and David Nehls, musical arranger Paul Doust; costumes & wigs designer David Mitsch; makeup & wig styling designer Vera Stromsted and Donanyely Mejia and Marty Thomas; and specialty costumes designer Gail Baldoni. The Destruction of Jane is presented by Pure Motion Pictures.
Back to the Future: From Screen to Stage Ahead of the Back to the Future musical opening in the Adelphi Theatre on August 20, BFI at Home presents an online discussion with members of the cast and crew about how the hit film became a full-fledged stage musical.
The Woman’s Party Clubbed Thumb presents the world premiere of The Woman’s Party. Originally slated to premiere as part of the 2020 Summerworks Festival, the piece will now premiere virtually.
Written by Rinne B. Groff and directed by Tara Ahmadinejad, The Woman’s Party has been divided into three 30-minute episodes.
1947 is the year that the savvy politicos of the National Woman’s Party will finally get the ERA passed once they quash that insurgency—or oust the old guard. The Woman’s Party takes place 27 years after the ratification of women’s suffrage, when the Equal Rights Amendment was poised for passage.
The cast includes Rosalyn Coleman, Alma Cuervo, Laura Esterman, Marga Gomez, Marceline Hugot, Emily Kuroda, Lizan Mitchell, Socorro Santiago, Rebecca Schull, and Connie Winston.
Shadow/Land Michelle Wilson, Te’Era Coleman, Lizan Mitchell, Lance E. Nichols, Lori Elizabeth Parquet and Sunni Patterson star in the world premiere of Erika Dickerson-Despenza’s audio play. The drama is set amidst the devastation of Hurricane Katrina and is part of the Public Theater’s digital stage.
The Thanksgiving Play Spotlight on Plays returns with Larissa FastHorse’s The Thanksgiving Play, directed by Leigh Silverman. The cast features Tony nominees Heidi Schreck and Bobby Cannavale, along with Keanu Reeves and Alia Shawkat.
Romeo y Julieta Lupita Nyong’o and Juan Castano star in this free bilingual audioplay of Shakespeare’s Romeo and Juliet, presented by the Public Theater and WNYC Studios.
La Femme Theatre Productions: The Night of the Iguana The show will feature Golden Globe winner and Emmy nominee Dylan McDermott (Netflix’s “Hollywood”) as Reverend Shannon, Emmy nominee and Tony Award winner Phylicia Rashad (Broadway’s Cat on a Hot Tin Roof) as Maxine, Roberta Maxwell (Broadway’s Summer and Smoke) as Judith Fellowes, Tony nominee, Obie and Drama Desk Award winner Austin Pendleton (Broadway’s Choir Boy) as Nonno, and Jean Lichty (Off-Broadway’s A Lovely Sunday for Creve Coeur, The Traveling Lady) as Hannah, with Keith Randolph Smith (Broadway’s Jitney, American Psycho) as Jake, Carmen Berkeley (Off-Broadway’s Our Dear Dead Drug Lord) as Charlotte, Eliud Kauffman (Roundabout Theatre’s 72 Miles to Go) as Hank, Julio Macias (Netflix’s “On My Block”) as Pancho, Stephanie Schmiderer (No Exit, The Human Voice) as Frau Fahrenkopf, Bradley James Tejeda (Broadway’s The Inheritance) as Pedro, and John Hans Tester (Amazon’s ”Hunters” ) as Herr Fahrenkopf.
Julius Caesar, Starring Patrick Page By Shakespeare@ Tony nominee Patrick Page (Hadestown) stars in the title role with Jordan Barbour (The Inheritance) as Brutus and Keith Hamilton Cobb (American Moor) as Cassius. West End Harry Potter and the Cursed Child performers Jamie Ballard and James Howard co-star as Mark Antony and Metellus Cimber, respectively.
The production is also be available on Spotify, Apple Podcasts, Soundcloud, and Stitcher.
Produced by Jersey City’s Shakespeare@, this audio production is the third installment of the season, produced and adapted by Artistic Director Sean Hagerty.
Hagerty has crafted the production into four weekly parts and partnered with the Emmy-winning team at Sonic Designs to capture the lost art and thrill of radio drama all without leaving the confines of quarantine.
Julius Caesar features original music composed by Joan Melton with sound design by the Emmy-winning team of Dan Gerhard and Ellen Fitton of Sonic Designs. Justin Goldner is the music producer and supervisor, and casting is by Robin Carus. Sydney Steele serves as the associate producer.
Assassins Reunion: Original Off-Broadway Cast The original cast and creative team of the 1991 Off-Broadway debut of Stephen Sondheim and John Weidman’s Tony-winning Assassins will reunite virtually to celebrate the musical’s 30th anniversary.
The free online event is part of the Studio Tenn Talks: Conversations with Patrick Cassidy series and will feature Studio Tenn Artistic Director Cassidy as well as other original cast members Victor Garber, Greg Germann, Annie Golden, Lyn Greene, Jonathan Hadary, Eddie Korbich, Terrence Mann, Debra Monk, William Parry, and Lee Wilkof plus Sondheim and Weidman, director Jerry Zaks, musical director Paul Gemignani, and orchestrator Michael Starobin.
The Things Are Against Us Susan Soon He Stanton’s The Things Are Against Us will be the next production in MCC’s LiveLab one-act digital reading series. Ellie Heyman directs the cast, which includes Juan Castano, Emily Davis, Susannah Flood, Babak Tafti, and Danny Wolohan, in tthe play set in a mysterious house with a mind of its own.
The Manic Monologues Current Slave Play Tony nominee Ato Blankson-Wood, Rent Tony winner Wilson Jermaine Heredia, Accidentally Brave playwright Maddie Corman, and more stage favorites will explore mental health this winter in a new digital production from the McCarter Theatre Center.
Talking to The Creatives Of War Words
I was so moved by War Words the Pulitzer Prize nominated docu-play based on the words of the men and women who served in the U.S. Military during the Afghanistan and Iraq wars, T2C set up an interview with the playwright Michelle Kholos Brooks, Sarah Norris the director and Donald Calliste on of the actors in the show, who is also a vet and served in the Afghanistan and Iraq wars.
War Word is based on Michelle Kholos Brooks interviews with veterans of the 20-year Long War and their families, War Words is composed of heroic and heartbreaking stories of the veterans, families, and allies of people who served: those who came home, and those who were left behind. The playwright and NewYorkRep have felt that there was always a need for civilians to better understand the motivation and sacrifice one makes to serve.
War Words: by NewYorkRep in association with New Light Theater Project at A.R.T. Theatre, 502 West 53rd Street, through December 17th.
Video by Magda Katz
I Can Get It For You Wholesale Shines Bright /Dark at Off-Broadway’s Classic Stage Company
That young boy, running and dancing around that Classic Stage Company theatre floor, flinging fabric in exchange for coins has everything one would want in a musical theatre hero, and we instantly feel for him, and his pain when some guy, “always bigger,” pushes him to the ground in a jarring antisemitic assault after taking his money while lobbing a slur right at him. We take in his pain and frustration, especially when, after, his mother, played to utter perfection by the always magnificent Judy Kuhn (CSC’s Assassins; Broadway’s Fun Home), sings the sweetest of care-taking songs, begging him to “chew a little something” for her. It’s the kindest of engagements. One that enters our collective hearts and stays with us, even as we watch the show, and him, turn so utterly dark.
Well, that was Harry Bogan, then, and he had us totally on his side cheering him on simply because of that first, well-executed, scene. Now, well, the theatrical now being 1937 New York City, as adult-played by Santino Fontana (LCT’s One Act; Broadway’s Tootsie), he’s a different kind of man. At first, we think of him as driven and ambitious, something that we can also get behind, but as the revival of 1962’s I Can Get It For You Wholesale rises forth most dynamically, we see another side of Harry, one that makes him and this musical a different kind of breed than I realized walking in. I had no idea that it was such a dark horse kinda of a show, and as unspooled meticulously well by director Trip Cullman (Broadway/2ST’s Lobby Hero), the anti-hero status of Bronx-born Harry stitches himself well into our psyche, giving us enough connection to make us struggle with our ongoing care, while also cringing when he deceives. And he does that often, and with such cleverness, we feel, since he buddies up to us so directly, a little guilty as well for all of his transgressions.
When this dark horse of a musical first opened on Broadway in 1962, it had a fairly solid run (300 performances) but failed to garner the same enthusiasm that another show that opened that same season did (beyond what it did for a certain star-making turn of one Funny Girl). Five months earlier, to be precise, and that show, another dark anti-hero horse by the name of How to Succeed in Business Without Really Trying had what was referred to as a more “cuddly betrayer” in the likes of J. Pierrepont Finch. Theatre historian Ken Mandelbaum noted that “audiences were less willing to confront Wholesale‘s unflinching portrayal of Harry’s little world of men and ulcers on parade.” Finch was more for them, and Harry, well, not so much.
I guess it’s a bit understandable – one anti-hero musical at a time – but it’s one of those sad theatre stories that casts a unfortunate shadow on the musical’s true cleverness. Yet, with this production and John Weidman, the book writer of Assassins, on the job, revising his father’s work for this Classic Stage Company production, the edges and the ending have solidified into something darker yet more direct and engaging. We hear more from Harry, through his inner dialogue monologues spoken directly to us, sometimes asking us to forgive him for the terrible thing he’s about to do, basically trying to get us to stay with him as his lies and scheming get more and more profitable for him, and more uncomfortable for us to watch. Until we can no longer, but that takes a bit of time, and, that’s basically because of the show’s now strong structuring and Fontana’s detailed delivery. Our turn happens much later than we expect, making us feel even more complicit to his so-called crimes as we watch it all seemingly unravel, bringing down one truly lovely trusting character, and hurting numerous others along the way.
In the part of Harry, originated back in the day by Elliot Gould, Fontana works his superb magic, casting illusions that we buy into with all the charm in the world (displaying that glorious voice of his every chance he can get). He’s devilish, pretty much from the beginning, throwing his Union brothers under the bus right off the bat in his first adult move up the ladder. We watch him climb, becoming more and more successful, and buying his loving mother a shower of expensive gifts, too soon and too fast for us not to question how he is doing all that. He conquers the 1930s garment trade, one step at a time, but Harry’s climb seems to be always on the backs of others. It initially feels enterprising, but quickly shifts to something more dirty and troubling. Especially when it comes to netting some much-needed capital from a childhood sweetheart by the name of Ruthie, played gorgeously by Rebecca Naomi Jones (Broadway’s Oklahoma!). Their “Gemini meets Capricorn” number is delightfully playful and endearing, even as we unconsciously underscore the sweet serenade with the bitter smooth-talking schemer vibe. You better watch your back (and pocketbook) Ruthie, or else you might have a fall ahead of you. Just listen to his Mama, OK?
Harry follows that sad desperate stain with another sweet-talking con of a dinner, courtesy of Mama’s fine cooking (and a spectacular subtle performance). We watch as he bluffs and convinces two other guys to go into business with him, while scheming his way around corners to get his share of the down payment. He keeps talking to us, entwining us, trying to explain and ask our forgiveness, and even when he starts losing us, Fontana still finds a way to keep us completely tuned in. When he leaves the sweet Ruthie standing there with a plate she put together for him to basically sing a strong duet about the love and sound of money with a showgirl, it sits heavy in our hearts. Portrayed regally by Joy Woods (Off-Broadway’s Little Shop of Horrors) as that other woman, actress Martha Mills, who values money almost as highly as Harry, we can’t help but think that our anti-hero and this glamour girl are an equal match “as dollars meet in sweet surrender.”
As played out on that simplistic, yet overly cluttered stage, courtesy of Mark Wendland (PH’s Unknown Soldier), with strong detailed costuming by Ann Hould-Ward (CSC’s The Cradle Will Rock), straightforward clear lighting by Adam Honoré (CSC’s Carmen Jones), and a solid sound design by Sun Hee Kil (CSC’s A Man of No Importance), I Can Get It for You Wholesale sings beautifully through the darkness, even if all those tables and chairs keep getting in the way of letting these truly fascinating characters fully spread out. It rarely feels necessary, all those items crowding the stage, even when the staging makes strong use of the haphazard placements of it all. The choreography by Ellenore Scott (Broadway’s Funny Girl), is charming, effervescent, and fun, but suffers because of all that clutter. She finds ways to utilize the obstacles well, but the movements forever feel like its crowding in the energy, all to the beautifully adapted score arranged by David Chase (Broadway’s 1776) with music direction and orchestrations by Jacinth Greywoode (Iron John: An American Ghost Story).
The cast is compelling, emotional, and exceptional, with Kuhn and Jones coming together beautiful and clear. Adam Grupper (Broadway’s (Pictures From Home) as Maurice Pulvermacher, Greg Hildreth (Broadway’s Company) as Teddy Asch, and Woods as the other woman giving Ruthie a run for her money, also give us their all, but the secondary heart sits firmly in that other family, the one that trusts Harry completely, with their love, security, family, and faith. In their union, played strong and true by Adam Chanler-Berat (Broadway’s Amélie) and Sarah Steele (RTC’s The Humans) as husband and wife; Meyer and Blanche Bushkin, the Jewish designer and his wife, they put their complete faith in Harry and usher forth a whole different element to the show. One that is completely devastating thanks to their and the cast’s delivery. It’s that uncomfortable conflict between faith, assimilation, and tradition, echoed in Kuhn’s carrying Mother and realized most fully in the celebration of Bushkin’s son, Teddy, portrayed by Victor de Paula Rocha (MUNY’s Rent) [who also earlier played the young Harry] and his Bar Mitzvah. That family’s betrayal is the final straw, yet it still stings true since, for some reason, we had not given up on Harry until that very moment.
But let’s not forget what most of us do know about this musical, historically speaking, and the main reason this show is remembered. It was the 1962 launching pad for a young, 19-year-old Barbra Streisand, making her Broadway debut as the loyal assistant to Harry, Miss Marmelstein, a part made bigger because of her just-seen talent. Funny Girl followed a few years later, and the rest is history, but inside this particular production, the making of another star is laid out right there before us. Maybe this part is the dress pattern for success, who knows, but with Julia Lester taking on the role, fresh from her Tony-nominated breakout performance as Little Red in Broadway’s smash revival of Into the Woods last summer, it certainly feels that Miss Marmelstein is the launching pad for success. Almost more-so than Harry, and Lester shines in the part, rolling about and rivaling all on top of those messy set pieces, commanding us to pay attention. How could we not? She shines super bright; hilarious and completely appealing, an equal to Fontana in his dark spotlight. I had no idea that I was walking into something like that, let alone the darkness of the anti-hero played out so deviously well, much like most I gather from the intermission reactions, but it’s certainly worth the trip to Union Square, to watch one star on the quick rise, and another cementing his already golden status in Classic Stage Company‘s solid revival of I Can Get It For You Wholesale. I’m glad I’m going to be able to say I was there when it all happened. Into the Woods and beyond.
Ken Fallin’s Broadway: Michael Urie and Ethan Slater
With the holidays, my caricature of Spamalot is taking time, so I decided to highlight the two performers who for me stood out.
I have drawn Michael Urie several times, but I love this picture with him and my drawing of him in Buyer and Seller. Urie as Sir Robin, shows a new side of him that is truly funny.
Ethan Slater should have won a Tony for Sponge Bob Square Pants. My guess is he will be nominated again for his multiple roles in Spamalot.
Up next my caricature of Spamalot
The Emergence of Profound Theatre at The Signature
Things are not as they seem. What is our place in the universe? Did you know we once co-created and still create our own universe…everyday? Are we alive? Where does love come from? These are the subjects that Emergence and Patrick Olson ask us to ponder. Featuring music, spoken word almost like Laurie Anderson or David Byrne and Alex Grey like visuals, Olson imparts what could almost be a movement towards a better planet. Olson, also a talented songwriter brings together Ian Jesse on bass, Nadav Hezi on guitar, Jordan Coker on drums, and Thomas Nickell on keys, four vocalists ala Robert Palmer (Cherry Davis, Samara Brown, Miya Bass, and Bella Kosal), 3 acrobatic dancers Summer Sheldrick, Dana Liebezeit, and Lavy Cavaliere, add to his universe.
Olson, founded a science publishing company, released an album in 2021 titled Music for Scientists. “Moons of Jupiter,” is featured in Emergence. Other songs include: “Time,” “In My Mind,” “Energy,” and “Becoming.”
A lot of Emergence is played off as scientific fact such as we are all made out of hydrogen, carbon, calcium, and phosphorus, which is not living. Tension holds us upright despite gravity and yellow tulips are actually not yellow. This is all done with thought-provoking monologues that is in essence basic knowledge, but sometimes the most simplest concepts are the most profound. Do most people even contemplate spatial paradigms and the relativity of time and space? I think not and yet if we did the universe would be a better place.
Some of this material and this world can seem overwhelming, but in this intimate space we go through the trauma of it together.
Olson truly likes being up on stage and sharing his knowledge, his music and his philosophy. He looks kind of like a rock Mr. Rodgers.
A lot of what makes this show is the lighting design by Jordan Noltner, and the projections, by Jonathon Corbiere and Tyler Sammy of Futuretalk, Inc., and Nick Proctor, of Wasted Potential. These almost become another character.
This show is uplifting, insightful and definitely a unique theatrical experience.
Emergence: Things Are Not As They Seem: Signature Center, 480 West 42nd Street through January 7th. Tickets and information: emergenceshow.com
All The Devils Are Here: How Shakespeare Invented The Villain” Magnificently Explored Page by Patrick Page
“Unsex me here!” An appropriate beginning for All The Devils Are Here: How Shakespeare Invented The Villain, playing out and summoned with full force downtown at the DR2 Theatre. And he does it with a few lines from Lady Macbeth. Which is more than perfect as a parade of dark villains are called forth, exquisitely, with the passionate prose of Shakespeare, delivered with aplomb by the spectacularly gifted Hadestown voice, Patrick Page. It’s a fascinating exploration, given by a man overflowing with talent, page by Patrick Page. With a voice that commands our attention.
Diving with bold deliverance into the dark side of Shakespeare’s greatest villains from his first morality play encounter to his final foray into the storm, All The Devils Are Here… as directed with deliberation by Simon Godwin (TFANA’s Timon of Athens), unpacks the conceptualization of the villain and its origin with a bass-toned relish that is infectious. It’s the ultimate origin story, deftly delivered by Page, the ultimate Hades, flipping back through the pages of history to uncover the creation of the most wicked of characters, from the visual and ideal of the ‘Vice‘ character in 1572 through its evolution within the works of William Shakespeare. Ending with a staff broken.
Created and performed by the impeccable Page, this meticulously well-crafted “little seance” seduces, unrolling the text and the psychological case studies through the many “frescos” of Shakespeare’s great creations most elegantly. It is fascinatingly rendered and conceptualized, guiding us with careful thought and due diligence through the canon of this famed playwright, illuminating the evolution of evil, as conceptualized by the more than a dozen of his most evil characters.
“Shakespeare didn’t just create some of literature’s greatest bad guys — he invented the very concept of the villain,” Page tells us, most eloquently. He walks us through, with a vibration that is ever so dark and delicious, speaking of impulse and revenge; backstories and character development, all the way to the more complex psychological case study of the psychopath. From Richard III to Prospero, with a grand enlightening stop into the devils that live inside Macbeth and beyond.
The twisted motivation and hidden humanity at the heart of Shakespeare’s greatest villains is set forth on a well formulated stage, bloody-well designed by Arnulfo Maldonado (Broadway’s A Strange Loop), with carefully constructed crimson costuming by Emily Rebholz (Broadway’s Jagged Little Pill), exact lighting by Stacey Derosier (Roundabout’s The Refuge Plays), and an intimate solid sound design by Darron L West (Public’s Coal Country). Page, once dubbed by Playbill as “The villain of Broadway” is the perfect creation to unwrap this sharply defined thesis for our consumption and contemplation.
It’s thrilling and relatable; fascinating and detailed, from Richard III to Macbeth. He calls forth all of Shakespeare’s evil and the discord, to investigate its formulation and unpack its impulses, but also to understand the connection to our own human nature. The ending illuminates in its humanity and worldliness. It’s grand and fantastically delivered, with “speeches like that” that scare the hell out of him and implant it into ourselves. So beg the angels to come protect us all, because after seeing the magnificent All The Devils Are Here: How Shakespeare Invented The Villain, you will walk out believing in evil, or at least understand its literal creation and origin story. “Let your indulgence set me free.” Now rotate three times and spit. Just to be on the safe side.
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