Hmm..

So I've been keeping an eye on Propeller's official site to see if dates are being added to their tour, and it still says the last shows are in Tokyo. And yet! I have just found information pertaining to their appearance in Galway this weekend...how did I miss this?

You can find their pages in the program (including a photo of Richard Dempsey) here.

In an article from The Galway Advertiser, Ed Hall predicts Galway to be the high point of the tour. 

The Irish Times has a great piece covering Propeller's history and their approach to Shakespeare, as well as the ubiquitous discussion of the all-male conceit.

The Galway Independent previews the shows....

...and The Irish Independent has an article talking with Ed about the relationship Propeller has with audiences.

And how about a review? The Irish Times hails Richard Frame's "brilliant take on Hermia" and calls Bob Barrett "a masterclass in comic timing" in Midsummer.

Fresh Midsummer Merchant-ise

(...too far?)

CityLife.com in Manchester gives the Merchant four stars, though takes qualms with some of the gender roles (and if someone wants to tell me where Antonio sleeps with Bassanio in the second half, I'd appreciate it...).

Midsummer garners five stars, with Bob Barrett, Richard Frame and Babou Ceesay all getting special mention and the observation that it's "hard to imagine anyone...emerging from this show without a big grin on their face and a feeling that they have been a part of something genuinely special."

And, the crowd chimes in from Oxford, calling Midsummer "fresh" and "funny" as well as "joyous. hilarious. rude. outrageous." One dissenter even finds it in his heart to call the set and lighting "magical."

In related news, I'm having trouble finding useful information from the most recent tour stops. I'll keep looking, but if you find something, do pass it on!

Grazie!

Renzo F. was kind enough to comment with a link to his article and a video of his interview with Bob Barrett.

Not being able to listen to it at work, I'll provide more detail of what's covered later tonight. But you don't have to wait for me...go watch and enjoy!

And grazie, Renzo!

When Worlds Collide

Watching trashy TV with my sister, my attention was suddenly captured by this ad...

The dubbing threw me as much as anything else, but it seems it is an imported ad from Britain with Propeller's own Bob Barrett. 

That Rare Thing

Though praiseful of Merchant (see previous post) ReviewsGate is less than enamored with A Midsummer's Night Dream, though still finds it in its heart to give Bob Barrett and Jon Trenchard recognition for their fine performances.

"Terrifically Twisty"

That's the praise offered to Bob Barrett for his Antonio on ReviewsGate, which also commends Kelsey Brookfield and Richard Clothier. It also points out how the "clever" prison setting shifts the focus off the religion and onto the business ventures of jail.

In Italia, That is Where I Want to Be...

Teatrionline (translated) offers a glowing (I think?) review of A Midsummer Night's Dream, focusing on how the rhythm of speech and movement combine to transcend the language barrier and giving props to Richard Clothier and Bob Barrett.

Also coming out of Italy, Fogli e Parole d'Arte (translated) offers one of the more in depth and insightful reviews I've seen, recapping design elements of the production and exploring the different themes highlighted by this interpretation.

Il Giornale provided a preview (translated) of the shows, but the translation is garbled enough that I can't tell you much more than that. Where are my Italian speakers?

Rinascita (translated) offers us a bit of a history lesson in between praising and recapping Midsummer, with special mention of Richard Frame and Jon Trenchard.

Finally, taking a more literary approach, Corriere Della Sera (translated) examines the story through the Chinese box theory of W.H. Auden.

If Only I Had Paid More Attention at Uni

Aprile OnLine has an interview with Bob Barrett in anticipation of the boys arriving in Rome at the beginning of this month. The catch? It's in Italian.

If you, like me, fudged your way through language, here's the Babelfish translation. Does it make sense? No, not quite, but you can kind of get the idea. If nothing else, check it out for the pastel illustrations.

If you want more, here's the preview from the theater's site. More or less the same press release we've seen in English, but given that international flare.

Double, Double

With a double bill, it seems somewhat easier to combine reviews.

Over at That's How the Light Gets In, it's less about getting in depth with either production and simply remarking on the "breathtaking performance," though makes a point to credit Jon Trenchard and Babou Ceesay with stealing the show.

What's On Stage's Michael Hunt believes the productions "cemented the reputation of the all-male theatre company as a fabulous deliverer of William Shakespeare’s plays."

Kudos gets a little confused in reviewing/recapping the shows, at one point referring to Jon Trenchard's portrayal of 'Leah' in Merchant, but still manages to find it's way clear to saying a viewing of the show to be "compulsory" and saying, with regards to Midsummer, "you are unlikely to ever see it done better."

A little more lucid in its praise, The Times celebrates how "The Dream fizzes with invention, agility and boisterous humour too generous to be patronizing," calls Merchant a "brilliant shocker" and trumpets Bob Barrett as the star of the double bill.

The Telegraph more recaps than reviews both shows, but seems to enjoy Dream more than Merchant, taking particular issue with the eye gouging.

Dream Awakens Praise

Thought Liverpool was all about Merchant? Not so!

The Bardathon has some problems with the way the cast was doubled, but admits these are "small gripes," citing Richard Frame's performance as a highlight and saying "the skill and intelligence of the company was obvious in their grasp of simple building blocks so often ignored by others - an eye and ear for a good joke, generous ensemble playing and a genuine enjoyment of language." 

Chiming in, The Public Reviews calls Dream "breathtaking," "polished" and "expertly crafted."

Over at RemoteGoat, Ed Barrett praises the cast for creating "an incredible, truly ensemble piece, that entertains every bit as much as it illuminates Shakespeare's most-performed play."

Colin Serjent at Nerve trumpets Bob Barrett as "a revelation" and reflects on the Bard's ability to highlight the nuances of human relationships.

Finally, the "thoroughly entertaining, beautifully set and consummately performed" production scores with TheStage.

More from Liverpool

The Stage lauds the prison setting as providing "the necessary sense of entrapment and claustrophobia beautifully” and gives a shout out to Jack Tarlton's being "quite exceptional in the emotion he manages to pour into the role."

Meanwhile, Vicky Anderson at the Liverpool Daily Post gives more general praise and lauds the strength of the company as an ensemble.

Amongst all this praise, The Times decides to play spoiler. While Bob Barrett is singled out for his Antonio, the production is only given two stars, as the prison concept is viewed as more than a little problematic by Jeremy Kingston.

Serious Comedy

Daily Info also chimed in on Twelfth Night, calling Bob Barrett's Malvolio a "triumph" and noting how the production adds a more serious tone to the frivolity.

Interviews with Simon, Tam, Bob and Dugald

You can find them in Propeller's education packet, which can be found here.