Word: sellarsization
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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...
This production is no substitute for a full-scale, operatic Ring, and that seems obvious both to Sellars and to audiences from the start. The suggestion of a critic in the Boston Phoenix--reviewing the same Ring production this summer--that international opera stars participate in Sellars' version of the...
But there is a need for this sort of Ring. If only to remind audiences that Wagner need not sink from the weight of his pomposity, that there can be levity as well as profundity in these mythological epics, Sellars has performed a valuable service. Most modern Rings either slavishly...