Word: broadwaterã
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It’s hilarious to watch the two men impotently muddle around with their pea-sized brains; it’s Abbott and Costello Meet Hamlet, except that neither man has any idea who’s on first. Broadwater??€™s Guildenstern is earnest and restless, always yammering questions and never getting answers. Hodgson’s Rosencrantz is a layabout twit, his perpetually gaping mouth suggesting a severely inbred bloodline. It is Stoppard’s genius to make these idiots the carriers of a profound existential dread; in Stoppard’s hands, Rosencrantz...
...ephemeral quality to Rosencrantz and Guildenstern Are Dead. It treats you to a lot of interesting philosophizing and wordplay, and it’s a lot of fun to watch, but I don’t remember a lick of the dialogue a day later. Instead, I remember Broadwater??€™s hapless sincerity, Hodgson’s idiot scowl, my laughter-strained stomach, and the show’s deeply affecting sense of existential loneliness. That’s a package worth sitting through two intermissions...
...Broadwater??€™s able acting evolves with his progressing madness. Though by the play’s end the audience finds the Captain’s state desperate and terrifying, Broadwater??€™s transformation is gradual and imminently believable. He has total command over his acting and inhabits the role completely...
Modigliani’s powerful interpretation of Ba’al is instrumental in realizing Broadwater??€™s production. Modigliani inhabits the role in robust, full-bodied fashion, and the audience shudders with his every writhe and demonic grin. In sometimes taunting the audience, then desperately calling out for help, he forces them to see themselves as implicated, even if unwillingly, in his plight...
...withstanding some weaknesses in execution, Broadwater??€™s Ba’al is an innovative production that maximizes the emotional potential of Brecht’s play. It portrays humanity in all its stark, shocking and terrifying guises, and then abruptly leaves the audience to contemplate the emotional aftermath of their experience...