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"Godwin, Laura"
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One moon, two cats
Two cats, one in the city and one in the country, chase mice before going to sleep.
Book
Harry the Sixth/The Houses of York and Lancaster/The True Tragedy of the Duke of York
Live the- ater and historical warfare thus spatially merged to create a site-specific \"authenticity\" for part of the tour and to give the phrase \"theater of war\" a new meaning. Despite publicity and program pieces that connected the Henry VI plays to conflicts ranging from the English Civil War, through North- ern Ireland and the Falklands, to the 2011 London riots, direction and design choices suggested neither a Voltairean presentist resonance nor a universal experience of war that united times as well as places and actions. Red and white were not entirely absent from Part 1, however, for the production opened with a procession bearing Henry V's coffin-complete with St. George's flag flower arrangement-through the pit and up the double set of stairs leading toward the stage, where it remained to serve as a literal and figurative reminder of the dead king's legacy. While claiming ignorance of Michael Boyd's celebrated 2000/2006-08 staging, he nevertheless followed the RSC artistic director by casting performers in a series of archetypal roles that resonated from play to play as each actor created, in effect, a mini-ensemble in one body.
Journal Article
Owl sees owl
A baby owl leaves the nest one night, explores the world around him, sees his own reflection, and then returns to the safety of home.
Book
Henry V, and: Timon of Athens (review)
[...]the first scene eschewed a Privy Council chamber for a literal privy and the clergy multitasked their way through the play's exposition. [...]Brennan forsook peasant Chorus for regal Isabella and epic was subsumed into narrative with the omission of the epilogue. Linking Timon's tastes and largesse to the subsidized high art institutions, Hytner suggested the dangers of ever-increasing reliance on individual donors and corporate sponsors (including the iniquitous BP, JP Morgan, and Goldman Sachs, all prominently featured in the Timon program), whose generosity is subject to personal whim and market volatility. [...]he had little time for Flavias attempts to curb his largesse and treated Apemantus less as a difficult friend than as a precocious child or prized pet to be shown off for a moment but quickly dismissed as the real festivities commenced.
Journal Article
Doctor Faustus, and: The City Madam (review)
[...]Matthew Dunster's Faustus trod the line between two extremes, combining a lucid interpretation of the text with a pair of distinctly underwhelming central performances. Adding blood to the blazes, Dunster staged the torture of Bruno on the central aisle and enlivened it with torturers who demonstrated a fetish for dental work: using their own teeth to tear chunks of flesh from the rival Pope's neck, they later extracted a tooth from their victim as the enthroned Pontiffjustified their actions with an innocent \"Is not all power on earth bestow'd to us?\" The aisle also served as the staging ground for a heavily choreographed pageant of the Seven Deadly Sins wherein all seven actors worked together to present an elaborate orgy of vice. [...]despite penitent pleading on behalf of debtors Hoist, Penury, and Fortune, his Mephistophelean temptation of apprentices Goldwire and Tradewell came as little surprise. [...]though, it was Sir John who threw offhis weeds and conquered the small world of the Frugal household by asserting his rightful place at its head.
Journal Article
\There is Nothin' like a Dame\: Christopher Marlowe's Helen of Troy at the Royal Shakespeare Company
The author discusses productions of Christopher Marlowe's \"Doctor Faustus\" by the Royal Shakespeare Company, noting that there is is a consistent association of the character of Helen of Troy with illicit or alternate sexualities. Godwin examines interpretations in the 1968 production directed by Clifford Williams, the 1970 scaled-down revival for touring directed by Gareth Morgan, a 1974 production directed by John Barton, and Barry Kyle's all-male production in 1989. Godwin touches on the critical reception of each representation of the character.
Journal Article
Theatre Reviews: The False Proscenium: \Kean,\ \Macbeth,\ and \Macbett\ in England, Summer 2007
Three theater productions presented in England in spring and summer 2007 are reviewed: Jean-Paul Sartre's \"Kean,\" directed by Adrian Noble and presented at the Apollo Theatre in London; William Shakespeare's \"Macbeth,\" directed by Conall Morrison and presented by the Royal Shakespeare Company at the Swan Theatre in Stratford-upon-Avon; and Eugene Ionesco's \"Macbett,\" directed by Silviu Pucarete and presented by the Royal Shakespeare Company at the Swan Theatre in Stratford-upon-Avon.
Journal Article