#1
Posted: 9/20/08 at 8:09pm
Daniel Radcliffe makes the most successful screen-to-stage transfer I've ever seen. He ignites an otherwise unexciting production of EQUUS - absolutely astounding.
And the rest of the cast (well, most) is as good as he. I find it hard to single people out, but my particular favorites were Kate Mulgrew and T. Ryder Smith. I heart Anna Camp, even though her British accent is as good as a high school students.
I couldn't tell if it was Richard Griffiths who sucked all the tension out of the play, or if there wasn't any to begin with. The whole production is just so genuine and safe. He's very...grandfatherly, not at all intimdating or even interesting. But he commands the stage, despite not taking any risks.
One wonders if Thea Sharrock's stagnant staging is due to Griffiths' girth. He's certainly less rotund since his brillant performance in HISTORY BOYS, but he still has problems getting around (and John Napier's mumu costume does nothing to hide it).
There are only 2 points when the production comes alive - the end of the first act, in a breathtaking tableau of fog and mist and Radcliffe/Lorenzo Pisoni, and the last 20 minutes, from the scene in the movie theater. This is due in part to the delicious chemistry between Radcliffe and Camp, whose work I've been a champion of since THE SCENE at 2nd Stage.
Perhaps it's the play that's not very interesting. It's very verbose - verbose to the point of no return. A lot of rambling by Dr. Dysart - some monologues that say a lot about the character, others that say nothing. A lot of '70s pop-psychology that even Peter Shaffer says in a note in the program, is probably dated, but we have it in our power to have it in our power look past it.
John Napier's designs are fine - The seats on the stage make the set look like a Roman amphitheater, yet there's no real purpose for that. I loved David Hershey's lighting.
This production actually isn't sold out - I figured it would be. In the mezz, there were at least 3 full rows of empty seats. Can't figure out why they haven't implemented some kind of rush policy. I moved from 2nd to last row to one of the side boxes for an excellent view of the stage.
And for all you voyeurs who are wondering - he's small and manscaped; she's shaved. Kinda defeats the purpose of when Alan says to her "you're hairy." (Unless I heard that wrong.)
And the rest of the cast (well, most) is as good as he. I find it hard to single people out, but my particular favorites were Kate Mulgrew and T. Ryder Smith. I heart Anna Camp, even though her British accent is as good as a high school students.
I couldn't tell if it was Richard Griffiths who sucked all the tension out of the play, or if there wasn't any to begin with. The whole production is just so genuine and safe. He's very...grandfatherly, not at all intimdating or even interesting. But he commands the stage, despite not taking any risks.
One wonders if Thea Sharrock's stagnant staging is due to Griffiths' girth. He's certainly less rotund since his brillant performance in HISTORY BOYS, but he still has problems getting around (and John Napier's mumu costume does nothing to hide it).
There are only 2 points when the production comes alive - the end of the first act, in a breathtaking tableau of fog and mist and Radcliffe/Lorenzo Pisoni, and the last 20 minutes, from the scene in the movie theater. This is due in part to the delicious chemistry between Radcliffe and Camp, whose work I've been a champion of since THE SCENE at 2nd Stage.
Perhaps it's the play that's not very interesting. It's very verbose - verbose to the point of no return. A lot of rambling by Dr. Dysart - some monologues that say a lot about the character, others that say nothing. A lot of '70s pop-psychology that even Peter Shaffer says in a note in the program, is probably dated, but we have it in our power to have it in our power look past it.
John Napier's designs are fine - The seats on the stage make the set look like a Roman amphitheater, yet there's no real purpose for that. I loved David Hershey's lighting.
This production actually isn't sold out - I figured it would be. In the mezz, there were at least 3 full rows of empty seats. Can't figure out why they haven't implemented some kind of rush policy. I moved from 2nd to last row to one of the side boxes for an excellent view of the stage.
And for all you voyeurs who are wondering - he's small and manscaped; she's shaved. Kinda defeats the purpose of when Alan says to her "you're hairy." (Unless I heard that wrong.)
Updated On: 9/23/08 at 08:09 PM
