Word: sellarsization
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Dates: during 1980-1989
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PETER SELLARS HAS BALLS. His King Lear drives Shakespeare's poetry to a North Hollywood parking lot, yanks it from the back seat and stabs it helter-skelter while the gods guffaw. But Sellars' production fails because it attempts too much, his ambition exceeds his grasp. Far from letting the...
Brother Blue was slotted to play Lear but quit. 'It's the greatest play ever written," Blue exclaimed, gesturing wildly at intermission opening night. "It's just such a great role." But Blue felt he could not reach the level of intensity he had sought, nor could he fathom the...
Peter Sellars is no actor. Full of noise--moans, sighs, barks, wimpers, heavy breath--his Lear is pitiable, not tragic. Like the monstrous fur coat that drapes his frail frame for much of the evening, the role of Lear dwarfs Sellars. Rather than confront the character, Sellars flops to his...
When he ultimately dies a real death, Gloucester collapses to the stage and remains there, an unmoving corpse, for an hour. Clemenson's endurance is remarkable. Sellars has turned his actors into marathon runners moving--not always smoothly--through their paces. Admirably, he has tried to mesh an Elizabethan notion...