6 September 1973: Simon, The Sunshine Boys
4 October 1973: Williams, A Streetcar Named Desire
October 1973: O’Neill, The Iceman Cometh
24 April 1974: Stoppard, Jumpers
31 October 1974: Nichols, The National Health
16 July 1975: Miller, Death of a Salesman
14 February 1998: Shakespeare, Taming of the Shrew
4 June 2000: Shakespeare, The Winter’s Tale
3 December 2000: Miller, Death of a Salesman
10 June 2001: Shakespeare, King Richard II
7 December 2001: Ensler, Necessary Targets
23 March 2002: Weiss, Marat/Sade
2 June 2002: Aristophanes, Lysistrata
27 June 2002: Hellman, The Little Foxes
16 August 2002: Gilroy, The Subject was Roses
14 November 2002: Marivaux, Love in Disguise (Le prince travesti)
15 November 2002: Uhry, Edgardo Mine
15 December 2002: Chekhov, Uncle Vanya
25 July 2003: Wilde, The Importance of Being Earnest
16 February 2003: Marivaux, La Dispute
1 March 2003: Strindberg, Dance of Death
7 March 2003: Foote, The Trip to Bountiful
8 June 2003: Shakespeare and others, Pericles
12 July 2003: Frayne, Copenhagen
19 July 2003: Ayckbourne, How the Other Half Loves
26 July 2003: Shakespeare, Love’s Labour’s Lost
1 August 2003: Auburn, Proof
9 August 2003: Stoppard, Travesties
27 September 2003: Cooney and Chapman, Not Now, Darling
30 January 2004: Ludlam, The Mystery of Irma Vep
22 February 2004: Shakespeare, A Midsummer Night’s Dream
4 March 2004: Rossini, The Barber of Seville
5 March 2004: Ibsen, Hedda Gabler
12 March 2004: Metamorphoses
3 April 2004: Shakespeare, Othello
4 April 2004: Orton, What the Butler Saw
30 April 2004: Parks, Top Dog / Under Dog
4 June 2004: Albee, Peter and Jerry
6 June 2004: Sophocles, Oedipus
17 July 2004: Molière, The Miser
7 August 2004: Hart and Kaufman, The Man Who Came to Dinner
2 October 2004: Wilson, Gem of the Ocean
11 December 2004: Wilson, Burn This
5 February 2005: Sheridan, The Rivals
20 February 2005: Lepage, The Far Side of the Moon
12 March 2005: Machado, The Cook
9 April 2005: Jizuka, 36 Views
22 April 2005: Shakespeare, Othello, The Moor of Venice
18 June 2005: Sternheim, The Underpants
2 July 2005: Shakespeare, Julius Caesar
9 July 2005: Jones, Stones in his Pockets
2 October 2005: Bizet, Carmen
23 October 2005: Dorado, The Keening
11 December 2005: Chekhov, Three Sisters
20 January 2006: O’Neill, A Moon for the Misbegotten
14 May 2006: Wilde, The Importance of Being Earnest
1 June 2006: James, Turn of the Screw
28 July 2006: Margulies, Sight Unseen
10 September 2006: Shakespeare, Much Ado about Nothing
21 September 2006: Porter and Kopit, High Society
21 September 2006: Shaw, Arms and the Man
22 September 2006: Ibsen, Rosmersholm
22 September 2006: Goetz and Goetz, The Heiress
24 September 2006: Miller The Crucible
24 September 2006: O’Brien, The Invisible Man
1 October 2006: Mee, bobrauschenbergamerica
3 December 2006: Wings of Desire
31 December 2006: The Importance of Being Earnest
20 January 2007: Racine, Britannicus
1 February 2007: Wilson, Fences
25 February 2007: Bartlett, Charles Dickens’ Oliver Twist
9 March 2007: Treadwell, Machinal
22 April 2007. Shakespeare, A Midsummer Night’s Dream
20 May 2007: Pinter, No Man’s Land
27 July 2007: Molière, Dom Juan (or Le Festin de Pierre)
15 December 2007: Sun, No child . . .
June – August 2008: New Century Theatre, Northampton
15 August 2008: Shanley, Doubt: A Parable
27 September 2008: Nelson, How Shakespeare Won the West
1 November 2008: Gilbert and Sullivan, Princess Ida; or, Castle Adamant
20 December 2008: Massenet, Thaïs
7 February 2009: Williams, The Corn is Green
13 March 2009: Brecht and Weill, Threepenny Opera
14 March 2009: Beckett, Endgame
19 March 2009: Puccini, Madama Butterfly
4 April 2009: Goodwin, Two Men of Florence
13 June 2009: Gilbert and Sullivan and Greenberg and Benjamin and Daniel, Pirate
26 June 2009: Simon, Last of the Red Hot Lovers
7 August 2009: Stoppard, Arcadia
1 October 2009: Shakespeare, All’s Well That Ends Well
24 October 2009: Verdi, Aïda
5 November 2009: Heaney, The Burial at Thebes
14 November 2009: de Molina, Marta the Divine
5 December 2009: Shakespeare, Love’s Labour’s Lost
30 November 2009: Gilbert and Sullivan, The Pirates of Penzance
19 December 2009: Offenbach, Les Contes d’Hoffmann
9 January 2010: Strauss, Der Rosenkavalier
28 February 2010: Odets, Waiting for Lefty
27 March 2010: Thomas, Hamlet
22 April 2010: Bennett, The Habit of Art
23 April 2010: Menken and Ashman, Little Shop of Horrors
7 May 2010: Beckett, Endgame
Summer, 20th Season: New Century Theatre
31 July 2010: Glass, Trying
9 October 2010: Wagner, Das Rheingold
23 October 2010: Mussorgsky, Boris Godunov
5 November 2010: Lorca, The House of Bernarda Alba
12 November 2010: Gilbert and Sullivan, Iolanthe; or, The Peer and the Peri
13 November 2010: Donizetti, Don Pasquale
8 January 2011: Puccini, La Fanciulla del West (The Girl of the Golden West)
12 February 2011: Adams, Nixon in China
26 February 2011: Gluck, Iphigénie en Tauride
5 March 2011: Sophocles, Ajax
16 April 2011 and 21 April 2011: Dear, Frankenstein
21 June 2011: Wilde, The Importance of Being Earnest
25 June 2011: Howe, Painting Churches
14 July 2012: Wilde, The Importance of Being Earnest
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5 March 2011: Sophocles, Ajax
5 March 2011: Sophocles, Ajax
Matinee. American Repertory Theatre. New translation by Charles Connaghan. Directed by Sarah Benson
I had trouble following this production and ended up with a view of it considerably more negative than that of my companions. I continue to believe that the most radical thing a director can do these days is to produce classical plays by setting them and costuming them in their own time and place. In the current political climate (political in the sense of theatre politics) there is little chance of this, owing to the overwhelming presence of the auteur, still, after decades and decades of solipsism and owing also to the likely view that such a production would be taken as mere mindless antiquarianism. But it seems to me the radical nature of such a step would make its own political statement. Perhaps from there we might venture toward an understanding of ancient history that could be enlightening for our own time and place.
In any case, the acting in this “new” approach was very fine, especially the actor playing the title character, Brent Harris.