Word: antoon
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...transposing the action to the Wild West of frontier days. The "Padua" of swinging-door saloons and semicorrupt sheriffs is recognizably not of our era, yet equally recognizably a precursor to it; thus the outrageous sexual politics onstage is not ours, but pertinent to it. Director A.J. Antoon has taken considerable liberties (one character is called Joe Bob), and he uses the setting as much for slapstick buffoonery as for literary insight. But the show, the 14th in producer Joseph Papp's cycle of the Shakespeare canon, works better than any since the opening A Midsummer Night's Dream, also...
Director A.J. Antoon has placed the action in Bahia in northern Brazil at the turn of the century. The play's divisions between city and forest, between earthbound mortals and ethereal spirits thus become racial differences as well. White colonial masters stumble through the enchanted wood uncomprehendingly, while brown and black aborigines, attuned to the realm of magic, dance to throbbing Afro-Brazilian music and cast voodoo spells...
Sadly, Zoo Manager Antoon van Hooff took Roosje home for bottle feeding. After being isolated from her peers, Roosje would probably never be accepted by the colony and would be sent to another zoo to grow up caged...
Strindberg wrote The Dance of Death in two parts; as is becoming customary with this play, Director AJ. Antoon is staging only the first part in this production at Manhattan's Lincoln Center. Despite a distinguished cast, this is a narrowly drawn onenote, or perhaps two-note kind of performance. It mixes rage and exhaustion the way old club fighters hack away and then fall into each other's clinch, softly drubbing the kidneys, to rest for a little while. (A few years ago, Friedrich Duerrenmatt staged The Dance of Death literally as a boxing match...
Impossible. With telling closeups, like Faberge-crafted, peekaboo Easter eggs, Antoon created an almost three-dimensional illusion of depth. Like the Faberge egg itself, this Much Ado was a jewel...