Word: broder
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Phil Munger as Rosencrantz, and Jacob Broder as Guildenstern almost lose control of the fast-moving dialogue. At times the audience cannot keep pace with the bouts of verbal jousting because of inadequate into-national nuance. But they more than compensate with their frenetic motion and lively delivery. Broder especially appears more comfortable with physical rather than vocal acting, and his facial and bodily contortions bring the house down. In particular, his protracted death rattle during Munger's meditations on burial has the audience chortling merrily...
Since the drama consists mainly of dialogue, the director has less scope for innovation than in other plays. But Kamarei introduces some interesting touches. During one of Rosencrantz's monologues, Broder acts out scenes of brutal bloodletting with a sword and armor. The fine blocking and motion in the silent interchanges between our two heroes indicate Kamarei's talents...
...brighter note are Jacob Broder as Costard and Francesca Delbanco as Boyet, the Princess' chamberlain. Costard is a classic Shakespearean clown who counteracts the pretentious nobility by his own plain speaking. Broder's enthusiasm is infectious and he gets more laughs than anyone else in the show. Broder even pulls off a rather contrived time warp joke that could easily have flopped. Boyet is one of the few mature characters in the play and Uphoff (who doubles as her own costume designer) stresses this by contrasting Boyet's formal suits with the other women's hippie attire. Delbanco does...
Jacob Aaron Broder, as Hamlet, had a rather rough start. His abrupt tone and volume shifts, which were supposed to parallel his mood swings, were instead too rough and affected. As the play progressed, he gained his rhythm and confidence to the point where, when he uttered the line "I want to be a woman," he was believed...
...Democratic Convention. "So-called serious newspeople miss the powerful potential of the entertainment forum as a means of influencing people's lives in a positive way," she says. "I have my own column on TV, and I take it as seriously as does Mike Royko or David Broder." Yet Bloodworth-Thomason denies that the TV community is a liberal monolith. "Entertainment corporations are owned by old, white, conservative, rich men," she says. "The artists they employ are more liberal. The slant of what the artists are allowed to put out will be determined by the profit factor. The bottom line...