http://dctheatrescene.com/2006/02/25/death-and-life/ DC's Liveliest Theatre Website Mon, 08 Sep 2008 00:31:54 +0000 http://wordpress.org/?v=2.5.1 http://dctheatrescene.com/2006/02/25/death-and-life/#comment-618 KellySummer Tue, 07 Nov 2006 21:19:32 +0000 http://dctheatrescene.com/2006/02/25/death-and-life/#comment-618 KellySummer - KellySummer KellySummer - KellySummer

]]> http://dctheatrescene.com/2006/02/25/death-and-life/#comment-617 Ayomikun Ayodele Fri, 17 Mar 2006 12:39:02 +0000 http://dctheatrescene.com/2006/02/25/death-and-life/#comment-617 I am writing to you for help for my A level Theatre Arts Research Commission. I need directorial advice and would like to know what rehersal techniques you used for this particular production what type of set/stage did you have, costumes, how did you help people connect with their characters. I would be very grateful if you could replay as soon as possible. Thank you once again. I am writing to you for help for my A level Theatre Arts Research Commission. I need directorial advice and would like to know what rehersal techniques you used for this particular production what type of set/stage did you have, costumes, how did you help people connect with their characters. I would be very grateful if you could replay as soon as possible.
Thank you once again.

]]> http://dctheatrescene.com/2006/02/25/death-and-life/#comment-616 sareva racher Wed, 01 Mar 2006 06:39:21 +0000 http://dctheatrescene.com/2006/02/25/death-and-life/#comment-616 As a Casting Director Towanda Underdue is one of the most professional wonderful actresses I have me in the business. Iam very proud of her. As a Casting Director Towanda Underdue is one of the most professional wonderful actresses I have me in the business. Iam very proud of her.

]]> http://dctheatrescene.com/2006/02/25/death-and-life/#comment-615 Debbie Jackson Wed, 01 Mar 2006 06:38:17 +0000 http://dctheatrescene.com/2006/02/25/death-and-life/#comment-615 Behind the Scenes of Death and the Kings Horseman By Debbie Minter Jackson Sunday’s post-performance discussion of Death and the King’s Horseman reinforced the importance of this remarkable play at the Washington Clark Street Theatre. Don’t get me wrong—the high quality of the production is definitely reason enough to see it: the powerful performances by the cast, masterful use of the cavernous space, exquisite execution of the director’s vision, and topical relevance of the multi-layered themes. The production should not be missed, if only to bid farewell to the space that has served the theater community so well (in a funky, sometimes uncomfortable, basement artsy sort of way). Plus, this is a unique opportunity to see this renown piece performed with such gutsy passion that one can almost accept the absence of live drumming—almost. Still, the cast members were as mesmerizing in discussion as they were on the set. They offered world-wide perspectives and experiences in their approaches to the piece, and they dug through the many layers of meaning that permeate Horseman. We learned that the multiracial cast rehearsed separately –the villagers and the Brits—until just weeks before tech, bonding within their own circles, resulting in an explosive energy dynamic when they finally combined. They shared emotional journeys, coming from multi-cultrural backgrounds and ancestry. One of African heritage shared how his own grandfather in the “King’s Horseman” position refused to carry on the dying tradition. The actors immersed themselves into their characters and recognized that the struggle of the play goes far beyond the surface “culture clash” while acknowledging the play’s relevance to today’s incendiary times. “People basically need to be listened to and respected,” one shared, “whether in their personal lives or as an entire culture.” The Washington Shakespeare Company will be hard pressed to follow up with a more relevant, topical, or powerful piece. Behind the Scenes of Death and the Kings Horseman By Debbie Minter Jackson Sunday’s post-performance discussion of Death and the King’s Horseman reinforced the importance of this remarkable play at the Washington Clark Street Theatre. Don’t get me wrong—the high quality of the production is definitely reason enough to see it: the powerful performances by the cast, masterful use of the cavernous space, exquisite execution of the director’s vision, and topical relevance of the multi-layered themes. The production should not be missed, if only to bid farewell to the space that has served the theater community so well (in a funky, sometimes uncomfortable, basement artsy sort of way). Plus, this is a unique opportunity to see this renown piece performed with such gutsy passion that one can almost accept the absence of live drumming—almost. Still, the cast members were as mesmerizing in discussion as they were on the set. They offered world-wide perspectives and experiences in their approaches to the piece, and they dug through the many layers of meaning that permeate Horseman. We learned that the multiracial cast rehearsed separately –the villagers and the Brits—until just weeks before tech, bonding within their own circles, resulting in an explosive energy dynamic when they finally combined. They shared emotional journeys, coming from multi-cultrural backgrounds and ancestry. One of African heritage shared how his own grandfather in the “King’s Horseman” position refused to carry on the dying tradition. The actors immersed themselves into their characters and recognized that the struggle of the play goes far beyond the surface “culture clash” while acknowledging the play’s relevance to today’s incendiary times. “People basically need to be listened to and respected,” one shared, “whether in their personal lives or as an entire culture.” The Washington Shakespeare Company will be hard pressed to follow up with a more relevant, topical, or powerful piece.

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