#1
Posted: 10/8/05 at 12:34pm
BEOWULF: The Musical Review
After months of hit or miss shows from all types of New York Theatre Festivals, one may be concerned about making the trek to the Irish Repertory Theatre's Chelsea space for a rock opera about the legend of Beowulf. Those concerns not need be feared, for this version of "Beowulf" is as rousing and respectable as the time honored tale itself.
Most of us have read this oldest surviving British epic in a literature class, somewhere along the line of our American education. For those who forget the Anglo-Saxon epic, in short it is about the hero Beowulf's fights with three monsters: Grendel, Grendel's mother, and, fifty years later at the end of his life, a dragon. Since its rediscovery in the early nineteenth century, it has become a recognised classic, translated scores if not hundreds of times over. None however quite like the literal new deeply moving score by Lenny Pickett and Lindsey Turner.
The musical/rock opera of Beowulf is a new translation that transcends any other version into a stunning visual and aural masterpiece of horrific beauty. The deep rich tones of the all male ensemble are soothing, yet at the same time hauntingly entertaining. Richard Barth as the title character is a true find. His strong willed mannerisms, taunting tenor voice, and piercing looks are exactly what one thinks when they picture the hero. Also standing out is David Garry as Hrothgar. But when all is said and done, it is the true definition of ensemble musical theatre at its finest. Especially spell-bouding is the shows only female presence, in the form of Harpist Erin Hill who brings the entire evening home with a transcending version of the shows title song.
Grendel may be one to fear, but this Beowulf certainly is fearless. The quick hour and fifteen minutes are as informative as they are entertaining. A true delight to any teacher who is in the middle of a Beowulf unit. What a perfect field trip this would be! But not only for children! As one is transfixed by the evenings small marvels, they wonder just how much more of a bigger deserved life this Beowulf will have. Director Charlotte Moore should start believing now that another chapter in this shows history need be written.
After months of hit or miss shows from all types of New York Theatre Festivals, one may be concerned about making the trek to the Irish Repertory Theatre's Chelsea space for a rock opera about the legend of Beowulf. Those concerns not need be feared, for this version of "Beowulf" is as rousing and respectable as the time honored tale itself.
Most of us have read this oldest surviving British epic in a literature class, somewhere along the line of our American education. For those who forget the Anglo-Saxon epic, in short it is about the hero Beowulf's fights with three monsters: Grendel, Grendel's mother, and, fifty years later at the end of his life, a dragon. Since its rediscovery in the early nineteenth century, it has become a recognised classic, translated scores if not hundreds of times over. None however quite like the literal new deeply moving score by Lenny Pickett and Lindsey Turner.
The musical/rock opera of Beowulf is a new translation that transcends any other version into a stunning visual and aural masterpiece of horrific beauty. The deep rich tones of the all male ensemble are soothing, yet at the same time hauntingly entertaining. Richard Barth as the title character is a true find. His strong willed mannerisms, taunting tenor voice, and piercing looks are exactly what one thinks when they picture the hero. Also standing out is David Garry as Hrothgar. But when all is said and done, it is the true definition of ensemble musical theatre at its finest. Especially spell-bouding is the shows only female presence, in the form of Harpist Erin Hill who brings the entire evening home with a transcending version of the shows title song.
Grendel may be one to fear, but this Beowulf certainly is fearless. The quick hour and fifteen minutes are as informative as they are entertaining. A true delight to any teacher who is in the middle of a Beowulf unit. What a perfect field trip this would be! But not only for children! As one is transfixed by the evenings small marvels, they wonder just how much more of a bigger deserved life this Beowulf will have. Director Charlotte Moore should start believing now that another chapter in this shows history need be written.
