The Hamlet Machine Archives - Page 3 of 3

It’s certainly more than a little ironic that the last play I reviewed before the pandemic shut down all the theaters nearly two years ago was a work by Shakespeare, set in a forest, and performed by PICT Classical Theatre in the Fred Rogers Studio at WQED. . . and now in reviewing the first …

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Arts

Who’s Afraid of the Big Bad Myth?

by Stuart Sheppard

In all the productions I’ve attended over the past several decades, I’ve never seen a playwright attack the play he was adapting in the program notes. Jay Ball writes that when director Jed Allen Harris asked him to collaborate on a production of Homer’s eighth century BCE epic poem “The Odyssey” for Quantum Theatre, he …

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Arts

The Triumph of “The Current War”

by Stuart Sheppard

Since the emergence of drama two-and-a-half-millennia ago, the theater’s greatest enemy has always been the plague. It is no coincidence that during the fifth century BCE, as Aeschylus, Sophocles, and Euripides were writing the first great tragedies, Hippocrates was writing the first great medical treatise, called the Epidemics. [ngg src=”galleries” ids=”389″ display=”basic_thumbnail” thumbnail_crop=”0″]Theater, unlike virtually …

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Arts

PICT’s “A Midsummer Night’s Dream”

by Stuart Sheppard

There is an effulgence to William Shakespeare’s work that is always better to channel than to distort. And this is especially true of the luminous “A Midsummer Night’s Dream,” his first undeniable masterpiece, composed during the winter of 1595-96, and performed this midwinter in sly context by PICT Classic Theatre. For when better to have …

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Arts

City Theatre’s “Downstairs” Showcases Pittsburgh’s Dazzling Acting Talent

by Stuart Sheppard

The stage of City Theatre’s “Downstairs” is an open maw of things forsaken, a dirty basement stuffed with so many neglected and discarded items—tools and tires and crates and old clothes and worn-out furniture—that it casts the audience in the dingy ether of pathos well before the lights go down. Tony Ferrieri’s overpowering set is …

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Arts

PICT Conjures a Ghostly Godot with “The Woman in Black”

by Stuart Sheppard

“The Woman in Black” is one of those rare creations, like “One Flew Over the Cuckoo’s Nest,” that has found success in multivarious forms as a novel, play, and film. Based on Susan Hill’s 1983 book, PICT Classic Theatre’s production uses Stephen Mallatratt’s 1987 adaptation (an unusually safe bet for this company that even wrote …

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Arts

Barebones Brings Sam Shepard’s “True West” to Life in a Stunning Production

by Stuart Sheppard

We tend to think of the American West as director John Ford portrayed it: a vast, mysterious space as cosmic as the Egyptian desert, with the Rockies as our pyramids. The West is an ideal we all hold, a collective mythic dream, something verging on the spiritual the way our conception of patriotism verges on …

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Arts

Lear in the Furnace: A Review of Quantum Theatre’s “King Lear”

by Stuart Sheppard

Attending a Quantum Theatre production can be like traveling to one of those crazy destination weddings where they make you climb up some precipitous volcano to reach the venue, while you ponder the wedding planner’s sanity. You know the view will be fantastic, but is the journey worth it? In the case of William Shakespeare’s …

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Arts

Tragedy in a Box: A Review of “The Gun Show (Can We Talk About This?)”

by Stuart Sheppard

A refreshing pragmatism infuses Quantum Theatre’s production of “The Gun Show (Can We Talk About This?)” (2013) – a kind of low-tech, iconoclastic exuberance that’s reminiscent of the early films of Godard. It’s a classic one-man, story-telling performance – with some audience interaction – that comes off somewhere between Spalding Gray’s “Monster in a Box” …

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Arts

Soft-Core Pathos: A Review of Pittsburgh Public Theater’s “The Tempest”

by Stuart Sheppard

Cleverness is not a Shakespearian trait. In fact, as we have found after more than 400 years, the more we try to shape him, using our own devices, the less he is able to tell us. This is because his chief mode of artistic engagement is the sublime – versus the allegoric, the symbolic, or …

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Arts

An Exterminating Angel

by Stuart Sheppard

Perhaps all drama should be analyzed as the Kabbalists interpret Torah—on many levels simultaneously, comprising the literal, the symbolic, the metaphoric, and the mystical. This might allow us to understand and enjoy what others may miss or dislike, without resulting in one conclusion that necessitates a myopic choice of perspective. I felt this way watching …

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Arts

Barebones’ “Lobby Hero” Combines Comedy with Tragedy to Stunning Effect

by Stuart Sheppard

Dichotomies in art usually succeed brilliantly or fail dreadfully. Bringing together disparate forms is inherently risky: it challenges the artist, but even more so, it challenges the audience. In the case of “Lobby Hero,” Kenneth Lonergan’s 2001 play about four people whose lives collide in a random apartment building lobby, barebones productions has dropped this …

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Arts

Play Unlimited: The Public’s Ambitious “Hamlet” Rewards on Many Levels

by Stuart Sheppard

“The Tragedy of Hamlet, Prince of Denmark” is a monster of a play: at about 4,000 lines, it’s Shakespeare’s longest—full productions can easily run past four hours. (Hamlet himself has 1,500 lines, which alone would constitute an entire drama). And it’s monstrous not only in word-count, but body-count. By the end, the prince has been …

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Arts

Rich Performances Buoy City Theatre’s “Ironbound”

by Stuart Sheppard

Imagine “Waiting for Godot” set in a New Jersey bus stop. It’s hardly a rarefied trope, as I’m sure many of us have thought we might as well be waiting for Godot while marooned in some cold, lonely place, praying for a bus to appear. Playwright Martyna Majok has taken this conceit and turned it …

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Arts

Quantum Strikes Again with “Collaborators”

by Stuart Sheppard

Just as Colette could say, “There are no ordinary cats,” one could say that there are no ordinary productions from Quantum Theatre. “Collaborators,” the 2011 play by John Hodge (who also wrote the adaptation of the film, “Trainspotting”) is violently alive in a way so few new plays are these days, merging comedy and pathos …

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Arts

PICT Classic Theatre Triumphs with Fresh, Exhilarating Treatment of Oedipus Rex

by Stuart Sheppard

Although thirteen ancient Greek poets wrote Oedipus tragedies, only Sophocles’ play, “Oedipus Rex,” has survived. The Roman philosopher Seneca wrote a version, as did Julius Caesar. So did the 17th century poet John Dryden, as well as the 18th century philosopher Voltaire. It has been a foundational story of Western consciousness since Homer referenced it …

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Arts

Reflections on “1984” in 2017

by Stuart Sheppard

Critics have argued that we cannot evade Shakespeare’s influence on our conception of human nature, nor Freud’s influence on our understanding of psychology, and I would suggest, as a corollary, that we cannot escape George Orwell’s influence on our notion of the political. The Orwellian ethos, manifested in works such as his final novel, “1984”, …

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Arts

CMU Brings Vivid Life to Marlowe’s Great Work

by Stuart Sheppard

Carnegie Mellon University’s School of Drama manages to combine some of the strongest and rarest elements of great theatre in their production of Christopher Marlowe’s “Edward II”: rawness, mystery, risk and precision. This is the kind of performance of a classic play that eschews the pitfalls of tired masterpieces, and instead, evokes its subject like …

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Arts

Seeing the World Through Music

by Stuart Sheppard

Nietzsche famously castigated Euripides for killing the tradition of the chorus in Greek tragedy, because the audience no longer had music to inform its comprehension. He even felt that Euripides caused the death of tragedy itself by trying to make it too Socratic, too rational. “The Man Who Mistook His Wife for a Hat” might …

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Arts

Quantum’s Surreal “The River” Transfixes

by Stuart Sheppard

In Richard Brautigan’s classic surrealist novel, Trout Fishing In America, the narrator visits a store selling trout streams by the foot. They are stacked in piles like pieces of lumber, each length corresponding to a different price. In Jez Butterworth’s 2012 play The River, produced by Quantum Theatre, it’s as if they picked out a …

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