Rendering on Theatre №4

The article published on the website playbill.com on March 4, 2013 is headlined “Dallas Theater Center Will Stage Les Misérables and New York-Bound Musical Premiere The Fortress of Solitude”. The article reports at length that a new musical based on the Jonathan Lethem novel The Fortress of Solitude, penned by songwriter Michael Friedman and playwright Itamar Moses, will premiere as part of the Dallas Theater Center's 2013-14 season, prior to an Off-Broadway run at The Public Theater.

Speaking of the situation it is very interesting to note that The Fortress of Solitude marks the second collaboration between DTW and the Public Theater. The two companies aligned to produce the Michael John LaChiusa-Sybille Pearson musical Giant last season.

There are indications that the story is of how racial differences impact two boys, Dylan and Mingus, growing up in 1970s America. Moreover it is the story of impossibly joyful afternoons of games in the street and of living in a society in which you don’t belong. The article carries a lot of comment on the themes of the story, among which are themes of prison and of college; of Brooklyn and Berkeley; of soul and rap; of murder and redemption. 

In resolute terms the author of the article gives details that The DTC season should also include Lorraine Hansberry's classic A Raisin in the Sun (Sept. 13-Oct. 27); followed by the play it inspired, Bruce Norris' Clybourne Park (Oct. 4-27); Charles Dickens' A Christmas Carol (Nov. 21-Dec. 24); Luis Alfaro's Oedipus El Rey (Jan. 6-March 12, 2014); and Steven Dietz's Sherlock Holmes: The Final Adventure (April 25-May 25, 2014). 

The article draws a conclusion that a new resident staging of the international musical hit Les Misérables, featuring a book by Alain Boublil and Claude-Michel Schönberg, music by Schönberg and lyrics by Herbert Kretzmer is also planned. 

As for me, I think that it is great to stage the international musical hit Les Misérables, because having seen this film and having enjoyed the results of Oscar 2013, I can say that the film is perfect! One of the biggest treats, however, is the sets and special effects. The beauty and squalor of 19th century Paris is showcased magnificently and it really allowed you to become engrossed in story. Additionally, Les Misérables is a perfect chance for those who have never read the book or haven't heard of or had a chance to see the Broadway show. I wholeheartedly recommend this film to everyone.

Rendering on Theatre №3

The article published on the website http://www.guardian.co.uk on February 28, 2013 is headlined “Spain's microtheatres provide lifeline for actors as public subsidies dry up”. The article reports at length that Austerity has led to arts funding halving in three years, but a new can-do attitude has sprung up across the cultural scene. 

There is a lot of comment on how people were waiting for the signal that allow them into one of the Spanish capital's tiniest, and most successful, theatres. Housed in a ground-floor flat once occupied by the apartment block's doorwoman, the Casa de La Portera is a part of a cultural revolution as Spanish theatre finds ways to survive a recession. Moreover, those lucky enough to get one of the 25 tickets on sale are ushered into the front parlour, lined with uncomfortable high-backed dining room chairs that occupy much of the tiny space. 

It’s an open secret that the two actors including Barbara Lennie, recently in Oscar-winning director Pedro Almodóvar's The Skin I Live In –performing an adaptation of Tennessee Williams were within arm's reach. There is every reason to believe that across the town, queues formed for the €4-a-show tickets on sale at another miniature theatre, housed in a former butcher's shop, the so-called Microtheatre for Money.

Analyzing the situation, it is necessary to emphasize that complex laws governing the running of theatres are circumvented by calling the new spaces "cultural clubs" and selling theatregoers "temporary membership" rather than formal tickets. However, the microtheatre scene has already spawned one success that has moved up the theatre chain – several plays have been taken up by the country's National Drama Centre.

In resolute terms, the author of the article gives details that average budgets have been halved since Spain lurched into the first part of a double-dip recession three years ago. But, from theatre to film and documentary-making, Spanish creators are finding new ways to live without state funds. In this connection it is worth while mentioning the fact that it is one thing to complain about the lack of funding and quite another to sit back with your arms crossed doing nothing as poet Violeta Medina considers. 

The article draws a conclusion that nobody is getting rich from Madrid's new self-funding cultural scene, but at least actors and others are working. As for me, I can say that nowadays money means a lot, especially money of the state for art. So I think that actors shouldn’t find money and different ways in order to be independent from the state because the government is responsible for the development of art, especially of the theatre.

Rendering on Theatre №2

The article published on the website  www.officiallondontheatre.co.uk on February 26, 2013 is headlined “Curious Incident picks up Mousetrap”. The article reports at length that a charity that helps make theatre accessible to young people took place on February 23 at the Soho theatre. 

Speaking of the situation it is interesting to note that the National Theatre’s hit production of The Curious Incident Of The Dog In The Night-Time triumphed once again, scooping a pair of awards at The Mousetraps, the annual theatre awards voted for by young people. There is a general feeling to believe that Stephens is the person whose acclaimed adaptation of The Curious Incident of the Dog in the Night-Time transferred to the Apollo theatre and was recently awarded Best New Play at the Whatsonstage.com Award. It is an open secret that that award was more for him than any award he had ever won. 

There is some comment on how there was no need for hit musical Wicked to turn green with envy at the Southbank venue’s success, as it picked up a pair of accolades. After sweeping the board at last year’s Olivier Awards with MasterCard, Matilda The Musical added to its awards success, with the show’s miniature leading ladies sharing the prize for Best Female Performer.

In resolute terms the author of the article stresses the importance of the foundation of this project.  It was revealed that Mousetrap Theatre Projects was founded in 1997. In this connection it is worth while mentioning the fact that through 18 schemes, including in-school education, workshops, talks and master classes, it offered a London theatre experience to young people who might otherwise not have the opportunity. 

There are clear indications that Mousetrap Theatre Projects, is sponsored by D'Oyly Carte Charitable Trust. It is interesting to note that it inspires either young people or old ones. 

The article draws a conclusion that winners of The Mousetraps should be looking ahead to the next and most prestigious event in the theatre awards calendar, the Olivier Awards with MasterCard. Personally, I think that it is very important to encourage young theatre actors as well as old people by giving them awards of such a kind.  It can inspire them for a future masterpiece.

Rendering on Theatre №1

The article published on the website telegraph.co.uk on March 1, 2013 is headlined “Testing children on Shakespeare can give them 'demons'”. The article reports at length that schoolchildren should not be given rigid tests on Shakespeare, as the Bard leaves pupils feeling culturally inferior and with “demons”.

According to the text of the article, the programme, to be broadcast on BBC Four this autumn and provisionally titled Muse of Fire, shows two young actors travelling the globe with video cameras to find out what people really think of Shakespeare. Moreover, Rylance, a former artistic director of the Globe Theatre, added that the “forced march to an exam test”, with questions that were simply right or wrong, could lead children to feel “culturally inferior” with “all their demons packed around it”.

Speaking of the situation it is necessary to note that the documentary, which would be exhibited at festivals from next month, features interviews with Romeo + Juliet director Baz Luhrman, Ewan Mcgregor, Zoe Wanamaker, James Earl Jones, Ben Kingsley and John Hurt. In this connection it is worthwhile mentioning the fact that Rylance considered one way children met Shakespeare was through was the forced march to an exam test – GCSE or SAT questions about what’s right and wrong.

It’s an open secret that the Bard was the centre of all that actors do as actors but remained intimidating to so many people.

Giving appraisal to the situation, it’s necessary to point out that there was some kind of glory in performing Shakespeare and it didn’t have to be feared.  The article draws a conclusion that the programme, Muse of Fire, was announced as part of the coming season of arts programming on BBC Four.

As for me, I think that it is very good to try making a masterpiece like Shakespeare did it. I like the author’s idea about putting bizarre expressions of nature into an emotional form, as remarkably as Shakespeare. Anyway, he is great, without any doubt and the future programme is something rather interesting.