April 14, 2013 |
NEW YORK - Like world-class athletes, actors often measure their achievements by the degree of difficulty. Does a part require an unusual amount of range? An extraordinary number of man hours? Is it simply a matter of a chewy set of lines to get one's lips around? By all these standards, Alan Cumming would be an extreme-sports medalist. In a stage turn that will last nearly two hours, Cumming is set to play the part of Macbeth. Or, rather, the parts of Macbeth, as he tackles 15 roles from the Shakespearean tragedy, including the title character, Banquo, Duncan, Lady Macbeth and plenty of others (as well as, in a story that frames the performance, a disoriented mental patient reenacting the play)
April 10, 2013 |
Even by his hyphenate standards, Alan Cumming has been pretty busy lately. The Tony-winner and Emmy-nominee's role as slick campaign manager Eli Gold on "The Good Wife" continues to be meaty, with the series recently picked up for a fifth season. He's set to star in a one-man "Macbeth" that opens on Broadway later this month (more on that shortly). And now he has several film projects in the works. Cumming tells The Times that he's come aboard to star in "First-Class Man," the long-developed Roger Spottiswoode film about an Indian prodigy who makes the move from his native country to Cambridge, England.
March 21, 2013 |
If the title of Donald Freed's new play, now at the Skylight Theatre, doesn't prompt you to quote Macbeth (“Tomorrow and tomorrow and tomorrow…”), you are probably not its intended demographic. The heart of “Tomorrow” is three actors discussing and rehearsing scenes from the Shakespeare tragedy. And, yes, it sounds dry and cerebral, like something only a dramaturge would be into. As I actually have a degree in dramaturgy, you might roll your eyes when I say I was on the edge of my seat as I watched the characters hunt Lady Macbeth's psychology through the text, history and their own pasts.
July 19, 2012 |
Meet the Macbeths, a charming, upwardly mobile couple grieving over the death of their only child. Director Jessica Kubzansky's interpretation of Shakespeare's “Macbeth,” currently on view in a satisfyingly foggy, bloody production by the Antaeus Company, opens with a funeral. Macbeth (Rob Nagle in the performance I saw; all the roles are double-cast) and his wife (Tessa Auberjonois) place a tiny shrouded body in a coffin, wordlessly but movingly communicating the couple's grief and mutual love.
November 18, 2009 |
The villages of Botswana are full of music. Gospel music. Choral music. The singsong repetitive music of rote classroom learning. But not opera, until now. As a small girl in the village of Ramotswa, Tshenolo Segokgo learned to sing in a church choir. She grew up and moved to the capital, Gabarone, for vocal lessons. Then one day in 2004, her music teacher put on an opera CD. "It felt like it was angels singing," she recalls. :: Five years later, on a purple African night, operatic strains rise from a white, corrugated-iron shed in the bush.
April 9, 2008 |
NEW YORK -- Patrick Stewart's suave performance in the Chichester Festival Theatre production of "Macbeth," which opened Tuesday at the Lyceum Theatre on Broadway, can be scored a triumph, but it comes with a few provisos. Hardly anyone ever gets this most tempting of Shakespearean roles right. By comparison, Hamlet, Othello and King Lear -- tough as they are to pull off -- are more amenable to partial successes. When actors fail in these parts, they tend to fail upward.