How ludicrous is this? A 17 member Symphony ensemble from Trondheim with English soloist Daniel Hope plays Max Richter’s 4 seasons by Vivaldi as backdrop to an Original Practice and Pronunciation version of Pericles from Ben Crystal’s ensemble of 13 actors. […]
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Interplay #8 – Pericles in the Original Pronunciation – will be a world premiere – in three very different ways. It’s the first contemporary production of Shakespeare’s late-play Pericles in Original Pronunciation, the accent his actors spoke in, […] This recording at the Rose Theatre in Southwark’s Bankside, London shows the spectacular access we had to this spot where Shakespeare himself very likely trod the boards. […] 2014 ends and 2015 begins and We wonder what’s it all about? It’s been a great year and we could easily bow out of the Shakespeare game a happy puppy and not be missed. That would be scanned. Over on Facebook the group about this blog has become more the blog than the blog is. […] What we explored was how to create an ensemble working within the strictures of cue-script and the new-old accent of OP to see what the results would be. Those results surprised us and the audience. […] So much fun to be able to say I played the Sam Wanamaker Playhouse. As did one of our cast Natalie the other morning on the tube when someone asked why she was carrying a baby basket. it’s a prop for a show she said. What in some church hall? The reply, No, in the Globe actually. […] Just got the call ‘Theatre about to go dark’! here at the Sam Wanamaker Playhouse. Hugely no-real-words-for-it exciting to be in this space today and tomorrow for the sonnet performance at 7pm then saturday at 12 noon for a tech/dress/first try-out of Macbeth and sunday 7pm full read/performance of Macbeth with full complement of cast […] Many years ago in Cafe Quelle, Amsterdam I did a sunday afternoon performance in drag. A fruitless 20 minute search for a photo documentation will no doubt please many of our readers. And disappoint a few too. Trust me she was fruity. […] How does OP affect singing and reciting? It’s becoming increasingly clear that OP is the great leveller of the Shakespeare playing field. By that I mean a possible re-exploration of the canon without resorting to conceptual renewal, be it sci-fi, zombie, colonial plantation. The OP accent is not about historical revisionism. (An utterly […] It’s all about the formation of a Shakespeare Original Practice Ensemble. How do you train a disparate group of actors and gel them together? What are the principles that lay behind it? There are anywhere between 16-20 of us involved. So I’m not alone. (Ahl-own, his OP mouth-brain forming newer shapes). […] |
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