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Posts Tagged ‘Henrik Ibsen’

Baby Talk

March 18, 2014 | by

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A still from War Babies, 1932.

Since I wish to spare you the disappointment I myself experienced Sunday morning, I’m going to give it to you straight. Despite what the New York Times headline—“A Star Was (Recently) Born: A Play Boldly Casts Babies”—may imply, the current production of A Doll’s House at the Brooklyn Academy of Music does not feature an all-baby ensemble. The baby in question plays Nora’s youngest child, and merely makes a brief cameo, apparently sporting a sheepskin vest.

It’s not that I don’t understand the risks inherent in having a real baby onstage, or the novelty of going for verisimilitude in a role customarily played by a doll. But having had five seconds of imagining baby Ibsen, it was hard to go back. Those five seconds were some of the most glorious of my life. Read More »

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Staff Picks: Faust, Ibsen, and Bananas

January 14, 2011 | by

I’m reading Randall Jarrell’s translation of Goethe’s Faust, for no better reason than that I found a good used copy while browsing at the Strand. Jarrell died before he could finish part I—at times the verse is a little rough—but Robert Lowell stepped in to translate Gretchen’s famous Spinning Song, which now reads, very movingly, like an elegy for his friend: “My peace is gone, / My heart is sore, / I never find it, / I never find it. // When I look through my window, / I look for him. / When I leave the house, / I go on looking.//...If only I could / Catch him and hold him.” —Robyn Creswell

I saw Ibsen’s John Gabriel Borkman on Tuesday night at the Brooklyn Academy of Music. Ben Bratley describes James Macdonald’s “thaw-proof” production as having a “sense-numbing wintriness” to it. I loved the sight of Lindsay Duncan, Alan Rickman, and Fiona Shaw standing amid large banks of snow on stage. A small blizzard descended on New York that evening, and when I exited the theater, snow was falling heavily. For a brief moment, it felt as if I hadn’t yet left the play. —Thessaly La Force

The box set of Sandy Denny’s complete recordings are an imposing introduction to one of the most indelible voices of the last fifty years. Fortunately, Rob Young is at hand to steer a course through her work. Denny’s rich and allusive personal mythology—which draws upon maritime literature, pre-Raphaelite poetry, and English classical music—has been a major influence on artists like Kate Bush and Joanna Newsom. Head straight for “All Our Days,” “an eight minute mini-cantata with chords streaking like shafts of sunlight stabbing through clouds, and the alien ripple of a vibraphone recalling the mystical opening of [Vaughan Williams’s] Eighth Symphony.” —Jonathan Gharraie

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