Author Topic: Anne Hathaway in Shakespeare in the Park’s ‘Twelfth Night’ June 10 - July 12  (Read 62283 times)

Offline Aloysius J. Gleek

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And one of my favorite plays!


(Also posted in Chez Tremblay's 'Anne Anne Anne' thread) http://bettermost.net/forum/index.php/topic,22197.msg477052.html#msg477052



http://artsbeat.blogs.nytimes.com/2009/02/12/anne-hathaway-to-star-in-shakespeare-in-the-parks-twelfth-night/?ref=theater?8dpc



February 12, 2009, 11:22 am
Anne Hathaway to Star in Shakespeare in the Park’s
‘Twelfth Night’

By Dave Itzkoff



This Anne Hathaway — not the one who was married to the playwright — will star in Shakespeare in the Park’s production of
“Twelfth Night.”


She’s not the first Anne Hathaway linked to Shakespeare — when you last saw this one in Central Park she was most likely racing to complete an errand for the tyrannical Miranda Priestly in “The Devil Wears Prada.”  But this summer, you’ll be able to see Ms. Hathaway in the Shakespeare in the Park production of “Twelfth Night,”  in which she will play Viola, the Public Theater said in a news release. The play, directed by Daniel Sullivan, will run from June 9 through July 12 at the Delacorte Theater. The season’s second production will be Euripides’ “The Bacchae,”  directed by JoAnne Akalaitis and featuring music by Philip Glass.
« Last Edit: May 24, 2009, 11:50:08 pm by jmmgallagher »
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Offline Aloysius J. Gleek

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Re: Anne Hathaway to Star in Shakespeare in the Park’s ‘Twelfth Night’
« Reply #1 on: February 17, 2009, 12:04:39 am »
Also posted at Anne Anne Anne (Chez Treamblay):
http://bettermost.net/forum/index.php/topic,22197.msg478292.html#msg478292

http://www.publictheater.org/content/view/126/219/




Shakespeare in the Park

TWELFTH NIGHT
By WILLIAM SHAKESPEARE
Directed by DANIEL SULLIVAN

JUNE 9 - JULY 12

With ANNE HATHAWAY

This summer kicks off with a powerhouse production of one of Shakespeare’s most beloved comedies. The Public welcomes Academy Award Nominee Anne Hathaway as she makes her Public Theater debut playing Viola, one of the canon’s most charming heroines. This beguiling comedy follows the romantic adventures of Viola and her identical twin Sebastian, both shipwrecked in the enchanted dukedom of Illyria. At the helm of this time-honored story of cross-dressing and mistaken identity, all in the name of love, is Tony Award winning Director Daniel Sullivan.
« Last Edit: May 25, 2009, 01:01:49 am by jmmgallagher »
"Tu doives entendre je t'aime."
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Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Brown Eyes

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Re: Anne Hathaway to Star in Shakespeare in the Park’s ‘Twelfth Night’
« Reply #2 on: February 17, 2009, 10:57:10 am »

Thanks so much for alerting us to this wonderful event John!  I linked the opening date to the BetterMost calendar.  It wouldn't let me link the full run to the calendar (too many days).

I'm very much hoping to be able to come see one of Anne's performances!

the world was asleep to our latent fuss - bowie

Offline Aloysius J. Gleek

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Re: Anne Hathaway to Star in Shakespeare in the Park’s ‘Twelfth Night’
« Reply #3 on: February 25, 2009, 01:09:49 am »


Forty Years Ago--40!!!

I was there.


Shakespeare Returns Home to the Park
Twelfth Night Offered At Delacorte Theater
Version by Papp Set at Turn of 20th Century

by Lewis Funke
The New York Times - August 14, 1969


Twelfth Night, the Shakespeare play.  Staged by Joseph Papp;
setting by Douglas W. Schmidt; lighting by Martin Aronstein;
Costumes by Theoni V. Aldredge; songs and music by Galt MacDermot;
swordplay by Albert Quinton; artistic director Gerald Freeman;
production stage manager Michael Chambers.  presented by the New
York Shakespeare Festival, by Joseph Papp; associate producer
Bernard Gersten.  At the Delacorte Theater, Central Park,
West 81st Street.


Orsino.............................................................................Ralph Waite
Curio..........................................................................Philip C. Harris
Valentino.....................................................................Stephen Collins
Viola............................................................................Barbara Barrie
Sea Captain..................................................................Albert Quinton
Sir Toby Belch...............................................................Stephen Elliot
Maria..........................................................................Jennifer Darling
Sir Andrew Aguecheek...................................................Tom Aldredge
Feste..........................................................................Charles Durning
Olivia...................................................................Shasha von Scherler
Malvolio........................................................................Robert Ronan
Antonio........................................... .............................Albert Stratton
Sebastian..........................................................................Peter Simon
First Officer..............................................................Sam Tsoutsouvas
Second Officer..............................................................Paul McHenry
Priest...........................................................................Albert Quinton
Servants...................................................Bruce Cobb, Kevin Gardiner
Honor Guard...............Thomas Crawley, James De Marse, Patrick Shea
Musicians................Leonard Handler, John McCleod, Stephen Wilensky

 

Shakespeare got back into the New York Shakespeare Festival the other night.  Sidelines while Ibsen was holding the Delacorte Theater's stage earlier this summer, the Bard got back into a revival of his "Twelfth Night" officially unveiled on Tuesday.

To say that all's well in Illyria - Illyria, Central Park, U.S.A,, may be risky.  At this moment irate purists may be meeting in secret rendezvous, plotting action, perhaps even a demonstration in Sheep Meadow, against the traducers of tradition.  Whatever course they take, though, will be to no avail.  The odds are likely to be overwhelmingly against them judging by the appreciative and amused audience of which I was a member.  Though Joseph Papp, the founder and director of the festival, has taken liberties in his staging of one of Shakespeare's loveliest plays, they are not offenses against the text.

What liberties has he taken?  For one, instead of setting Illyria in the period of the early 17th century, which is when the play first was produced and is traditional, he has moved it to the turn of the present century Illyria.  The purists would have a point there.

Of the production as a whole they might contend that they missed the beauty of the poetry.  Mr. Papp has not stressed the poetic passages.  Instead, he's had his players portray their roles in naturalistic vein and speak their lines accordingly.  There is a definite conversational quality in this procedure and above all there is an emphasis on clarity of diction that allows an audience to understand virtually  every word.  Almost for this alone, there would have to be praise - there are some lovely words in "Twelfth Night".

Stressing diction seems to be in line, too, with Papp's rather deliberate pace for the play.  He seems to see it in terms of Checkovian pastels and finds its meaning for contemporary audiences in the fact that the pains and anguish suffered by those in "Twelfth Night" results from the concealment of true feelings.  Honesty, he thinks, is the essential policy in human relationships.

I caught glimpses of Mr. Papp's intentions through the performance.  But no matter.  "Twelfth Night" remains as cheerful an evening as it must have been back in 1602 when the barristers and benches saw it in Middle Temple Hall.  And Mr. Papp has cast if effectively.

Barbara Barrie, a festival veteran, is a winning Viola.  Impersonating Cesario, following her being shipwrecked off the Ilyrian coast, and serving as the courier from Orsino to the grieving Olivia, she is pert, sweet and winsome.  There is no question about the purity and beauty of Viola as Miss Barrie plays her, and she's most amusing as she participates in naval drills under the Duke's officers.  She is equally comic when confronted with the challenge to duel with Sir Andrew Aguecheek.

Both Stephen Elliot as Sir Toby Belch and Tom Aldredge as Sir Andrew make a fine comic team, more than willing to indulge in the occasional slapstick that Mr. Papp enjoys wielding in these productions.  Charles Durning's Feste is warm and pleasing and Robert Ronan is an adroit Malvolio, that self-loving, officious, prissy steward who is tricked into thinking Olivia is in love with him.

Maria, the trickster, is played with contagious gusto by Jennifer Darling.  Sasha von Scherler is attractive as Olivia and Ralph Waite gives Orsino the correct mood of the foolish fellow pining over an unrequited love.

"Twelfth Night" will be at the Delacorte through Aug. 30 (no performances are scheduled for the 18th and 25th).  It makes Central Park especially attractive these summer nights.

Copyright The New York Times Company.  All rights reserved.
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and Pee-wee in the 1990 episode
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Offline Aloysius J. Gleek

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The Delacorte Theater
Central Park
New York


Shakespeare in the Park

TWELFTH NIGHT
By WILLIAM SHAKESPEARE
Directed by DANIEL SULLIVAN

JUNE 10 - JULY 12

With ANNE HATHAWAY

And Charles Borland, Michael Cumpsty, Clifton Duncan, Raúl Esparza, Herb Foster, Leslie Harrison, Slate Holmgren, Kevin Kelly, David Kenner, Hamish Linklater, Dorien Makhloghi, Audra McDonald, David Pittu, Ray Rizzo, Jay O. Sanders, Julie Sharbutt, Stark Sands, Baylen Thomas, Zach Villa, Jon Patrick Walker, Julie White

Scenic Design: JOHN LEE BEATTY
Costume Design: JANE GREENWOOD
Lighting Design: PETER KACZOROWSKI
Sound Design: ACME SOUND PARTNERS
Composer: HEM
Wig Design: TOM WATSON
Fight Director: RICK SORDELET
Choreographer: MIMI LIEBER








  Shakespeare in the Park 
Video: Learn what goes on behind-the-scenes at
The Public Theater's summer Shakespeare Festival.

http://www.nycgovparks.org/sub_newsroom/video/index.html?boro=M&page=1&key=161
"Tu doives entendre je t'aime."
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and Pee-wee in the 1990 episode
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Offline Lynne

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I really really want to make it down for one of Anne's performances!
"Laß sein. Laß sein."

Offline Aloysius J. Gleek

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I really really want to make it down for one of Anne's performances!


Yay!

 8)
"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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How exactly does Shakespeare in the Park work
(in terms of tickets, reservations, etc.)?
 


Ok, FIRST--you donate a lotta money! ( :o ) or

SECOND--you try to win a ticket online for a certain day or one of a range of days (Meryl actually won once--I've never even tried) or

THIRD--like most Noo Yawkas, you stand "ON" line (the rest of the English Speaking World, if you're not queueing, you're standing "IN" line).


This is how it works:

If it's going to be a very popular show--and I think Anne Hathaway will be--you have to get up REALLY, REALLY EARLY, to the Delacorte Theatre, and STAND ON LINE. BUT: There Are Very Important Caveats and Protocals, To Wit:

If you can be there by 6:00 AM, good. You're in!

By 7:00 AM, you have a really good chance--I hope.

8:00 AM, well, maybe, but--probably no.

After  8:00 AM? For a popular show? As we say in New York: No Way! (Or, Whaddya Tawkin' About--Fugettaboutit!!)

(If you arrive after 9:00 AM, and if you are very optimistic (or if you are very STUBBORN), the nice line monitors will keep a guesstimate head count at some point, about, oh, 11:00ish o'clock, or so, and say--no chance, sorry. If it's close, and you feel lucky?? Well, wait and see. Once I got the LAST PAIR OF TICKETS to see 'HAIR'--MAYBE--they told me at 2:00 PM that I HAD to come back at 6:00ish and wait again, AND IT WORKED--great seats, too, a pair of patrons tickets given back--but it was a fluke. GET THERE AT 7 AM the latest!)

Oh, right, YOU thought that if you got yourself TO the perimeter of Central Park BY 7:00 AM, that was ok?? Nooooooo, no, no, no! You have to walk all the way THROUGH the CENTER of the park to the theater, THEN you have to follow all along to the fast moving back of the line--

In other words, if you want to be AT THE BACK OF THE LINE at 7:00 AM, figure you are walking into the NEAREST entrance (Either Fifth Avenue OR Central Park West) by 6:40 the Latest.

Does this seem like Boot Camp yet?? Wake up, Soldier!! Up and at'em!!


NOW. THE FINE DETAILS.

You thought you could show up at 6:00 AM, get your (admittedly, FREE ) tickets, and go home?

NO!
You have to WAIT until they GIVE OUT THE TICKETS UNTIL 1:00 PM (but it is really 1:30 or even 1:45).
And there's more!

Good thing is: Each Person Standing ON Line gets TWO tickets--but no more. SO:

If you want THREE tickets together, at least TWO people on line have to be actually BE there FROM THE BEGINNING--

Yes, the Line is POLICED!! (Friendly, but firmly.) In other words, if YOU get there at 6:00 AM, and second friend shows up at 7:25 AM, sorry, no, she cannot join the first friend, she must go to the much longer line. You BOTH may get two sets of two tickets (and weirdly, the second set may be better than the first) but you will definitely sitting in different part of the theater.

Anyway, depending on HOW MANY TICKETS in a contiguous block you want, how many people people have to stand on line--and can you sit??

Well:

For FOUR Tickets, TWO People must stand on line--
For FIVE Tickets, THREE People must stand on line--
For SIX Tickets, THREE People must stand on line--
For SEVEN Tickets, FOUR People must stand on line--
For EIGHT Tickets, FOUR People must stand on line--

and so one, ad infinitum.

SO--if you want NINE Tickets together,  and FIVE People have to wait and the other four get to sleep in, go shopping, sightseeing, etc., well--to you really have to really be there the WHOLE time? Can you sit? Eat? BATHROOM BREAKS?????

Here how it works:

The line snakes back into the park in a truly serpentine circuit--sometimes under the trees, sometimes completely open, and sometimes HAPPILY, by random chance, your part of the line forms alongside banks of park benches. WHEN THAT HAPPENS, you have won the Park Bench Award--you get to sit there SIX (or seven) hours until 1:00 - 1:45, when they call you up, one by one, at the ticket window. Once you have your tickets, YOU ARE FREE to go home, sleep, etc., til you can come back just 15 - 20 minutes "curtain" time (except there is no curtain)!

IF YOU DO NOT win the Park Bench Lottery, what then??

People bring blankets (Me--like three to cushion my admittedly boney butt.)
People bring Pillows. They bring Air Mattresses. They bring BEACH CHAIRS.

You get the idea.

Yes, they bring food--but guess what, you can even ORDER--guys from a designated deli bicycles back and forth asking anyone wants anything. Then, about 45 minutes to an hour, the guy wanders back and doesn't remember you are the same person, and you have to knock him down off the bicycle and get your coffee and bagel with schmear. If you're lucky.

BATHROOM BREAKS: Yes, You Can!!--the nice Line Monitor will have learned to know you by face AND, MOST IMPORTANTLY, Your Line Peers, before and Aft, will know who you are--you can just say you're going to the loo. You LEAVE all your stuff--YES, IT'S OK, REALLY--I mean, don't leave your sable or the Philip Patek watch sitting on the top of the pile, but otherwise, even if you are the ONLY person waiting on line to get two tickets, YES, you can leave your stuff in the middle of the park, you walk all the way to the front of the line, and go to the loo just next to the Delacorte Theater. Then you go back. If you try and play cute, SAY you're going to the loo, then go HOME, sleep, do the laundry, have a liesurely lunch, then come back FOUR HOURS LATER, forget it--your stuff is still there, but PEER PRESSURE and the LINE MONITORS will say--sorry Charlie, NO TICKETS FOR YOU!!

(You must be wondering--don't people get OTHERS to get tickets for them--by, ahem, MONEY??? Yes, obviously, and this is where things get TRICKY and even DELICATE. The monitors are looking for people who come back day after day, and maybe DON'T look like legitimate Theatre Geeks (or Anne Hathaway fans) and also--there are, shall we say, CLASS ISSUES, sadly. But the Administrators of the Public Theater are serious--this is a FREE theater, and tickets are FIRST COME, FIRST SERVED. Weeks will go by, then one fine day--wham--there is a huge exodus of "free-lance" NON-legitimate patrons. And so it goes.

RAIN??

Of course, this is an OPEN AIR theater--and an OPEN AIR line!! FOLLOW THE WEATHER REPORTS!! Bring your umbrella! Bring some plastic sheeting, if you like.

In re: the Weather--well, 2008 was the NICEST New York Summer I have ever witnessed since 1994--the BEST. It was SUNNY, the temperature mostly ranged between 75 - 82, and the humidity was LOW--gorgeous. And it hardly ever rained during 'Hair'--really, great Karma!

In 2007--Unbelievably--bad. It not only rained every other day--IT STORMED. Even worse, when the day was gorgeous, and people waited all day to see the play, at 8:00 PM, the heavens opened. No play. So--you never know. Propitiate all your gods and hope for the best!

Did I scare you all?? Really, it's GREAT fun--I've been going to Shakespeare in the Park MYSELF (and with friends) since 1969, forty years ago! Hope I see you there!!

xxx
John



Video: Learn what goes on behind-the-scenes at
The Public Theater's summer Shakespeare Festival.

http://www.nycgovparks.org/sub_newsroom/video/index.html?boro=M&page=1&key=161
« Last Edit: May 26, 2009, 12:09:08 pm by jmmgallagher »
"Tu doives entendre je t'aime."
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Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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Really nice article--now, if the godamn RAIN will ever, ever stop, we'll run and see Anne's play!


http://nymag.com/guides/summer/2009/57459/





Her Enchanted Evenings
Anne Hathaway is both theater nerd and Hollywood starlet, do-gooder and glamour-seeker. And this summer, in Central Park, she is also both boy and girl.




By Amy Larocca
Published Jun 21, 2009


You must excuse me,” says Anne Hathaway, at Cafe Luxembourg on the Upper West Side. The 26-year-old actress is explaining that she’s very, very tired, because she is playing Viola in Twelfth Night,  this summer’s Shakespeare in the Park offering, and she has been rehearsing like mad. She’s trying to say the play is complicated, but deceptively so, or maybe it’s deceptively simple? “My mind is shot,” she says, dumping a bit of milk into her coffee. She doesn’t look tired: Her skin is porcelain clear, her eyes calm and bright. “I can speak only in iambic pentameter.”

Anne Hathaway is a theater geek: She enunciates her words very clearly and speaks with an actressy almost-accent, like Rosalind Russell. She has a big, toothy, Julia Roberts–esque laugh. Some words she sings out, mock-opera style: “Great minds!” she trills when we both order the same thing for lunch.

Had Hathaway been born with a less beautiful face, or with less talent, you get the feeling she would’ve stuck to the theater anyhow, as a stagehand or a grip, or a longtime counselor at Stagedoor Manor camp. “I wake up in the morning,” she says, “and the first breath I take is in the devotion of acting.” But she is beautiful—her features out-proportion the rest of her face by a mile—and, as became particularly clear in last year’s Rachel Getting Married,  in which she played a recovering drug addict, she’s really very good. “I saw her in The Princess Diaries  at a drive-in movie theater in Maine,” says Rachel  director Jonathan Demme, “and I just thought, What a great presence. It kind of made me proud to be an American, seeing her share the screen with Julie Andrews. She’s got quote-unquote It. ”

Right now, Hathaway is navigating the treacherous world of fame, with regard to both her career and her so-called private life. With work, she has to balance groovy, troubling indies with explosive, glossy paydays (Bride Wars ) and somehow not become known exclusively for either.

And in spite of her efforts toward personal wholesomeness—she has described herself as a “Labrador puppy of a person”—she became tabloid candy last summer when her boyfriend of four years, Raffaello Follieri, was found to be a creepy con man who claimed to be in business with the Vatican and was promptly sentenced to prison.

“I don’t have the words to describe that yet,” she says, suddenly serious, her big eyes welling up with tears. “Hopefully at some point in my life I will have the words to describe what it was actually like, but at the moment, all I can say is that it was heavy, it was shocking, and I don’t completely understand it.”

The attention around Hathaway only grew when she got nominated for an Oscar for Rachel,  and now she can’t really get a cup of coffee without the moment being recorded by someone with a long-angle lens. Some of the paparazzi, she says, have “the morality of a wild animal who eats its young.

“There are enough reality-TV stars out there who clearly want attention and fame,” she adds. “I personally don’t think they know what they’re getting into, but it’s a very human instinct. I never wanted to be famous. I just wanted to act. So it’s very odd. Here I am doing something that’s a real actor thing to do and I’m being treated like a celebrity. I was going to take this year off from being a celebrity!”

Which is not to say she dislikes the fame, the glamour, the glitz. Remembering the Academy Awards ceremony, she exclaims, “It was like, Oh my God! I’m that girl! And I’m 26! I’m that girl! I’m sure for people who’ve been nominated multiple times there are more complicated feelings about what it all means, but I was like, You know what? I’m going to focus on the fairy-tale part of it. I’m just going to live in the stardust and the sparkle.” When Natalie Portman congratulated her on the red carpet, Hathaway’s response was “Who are you, you awesome creature of wonderfulness?”

Shakespeare in the Park is a considerably less sparkly, more arduous affair, and Hathaway likes it a great deal: She likes the long rehearsals, she likes slipping off to the uptown Shake Shack with cast and crew. It’s a bit of being the actress she imagined she’d be when, as a child in New Jersey, she decided to take after her mother, who acts in regional theater and has done so forever. “I hounded [Public Theater director] Oskar Eustis for years,” she says. After Rachel,  “I think it became more of a priority for him to get me onstage.” Hathaway stirs her coffee. “I do hope that doesn’t sound obnoxious.”



Hathaway and Raúl Esparza in Twelfth Night. 
(Photo: Joan Marcus)


She’s even enjoying the cross-dressing. “I was feeling like I could do more to get into my character,” she explains. “So I decided, What if I walked around New York trying to pass for a boy? What if I had to make people look twice to figure out what I was?  I kind of got dressed up, and there were six photographers outside. I was walking my dog, and they know my dog, so all of the sudden I’m in a terribly unflattering outfit, I look like I’m auditioning for West Side Story,  and it’s on the Internet! And it’s just like, I’m doing this for my job!”

She’s just visited the Hetrick-Martin Institute—her older brother is gay, and she has gotten very involved in various gay-rights causes—and finds herself thinking even more about the gender-bending aspect of her role. “I’m really going to lean in to that,” she says, before sighing a big sigh-of-contentment sigh. “It’s the most delicious, exhausting challenge.”

There are a number of films set to begin once the play ends and after some time spent immersed in a “gorgeous blanket of nurturing familiarity” (translation: family vacation). She’ll be in Garry Marshall’s Valentine’s Day,  with Julia Roberts and Shirley MacLaine (“We don’t have any scenes together, but hey, I get a poster!”). Talk of other projects swirls around her, but she’s coy about it. “I don’t mean to be, but sometimes things don’t work out in the end, and then people think it’s because you hate someone, and I don’t hate anyone!”

It has, however, been confirmed that she’ll be playing Judy Garland on Broadway, and that seems about right.

“This is so embarrassing, but one of the waitresses just walked by with a glass of white wine and I almost reached out and grabbed it. It would be lovely to have a bit of release, but no. I have to go to rehearsal. I don’t want to be the girl who shows up tipsy. But wouldn’t it be fun? Wouldn’t it be fun someday to be a grande dame who can get away with anything?”
"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Online Front-Ranger

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Thanks for a wonderful article! Go ahead and send the rain to Colorado...everybody else does!
"chewing gum and duct tape"

Offline Aloysius J. Gleek

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Thanks for a wonderful article! Go ahead and send the rain to Colorado...everybody else does!




Thanks, Lee, but--how?? (Still another dreary, dark day--yuck!)


In another vein, here's our plucky Thespian in her neighborhood boit:


http://nymag.com/daily/intel/2009/06/anne_hathaway_attempts_to_go_i.html

Anne Hathaway
Attempts to Go Incognito
in Nolita, Fails


Well, it's a step up from a baseball hat.
Photo: Owen Beiny / WENN.com

By: Jessica Pressler
6/23/09 at 5:34 PM


In this week's New York Magazine, Anne Hathaway talked to Amy Larocca about the difficulty of being a celebrity, the pressures of being a target of the paparazzi, and a Method-acting experiment she tried for her role in Twelfth Night,  when she ventured off-set dressed in the masculine garb her character Viola wears to disguise herself as a man.

“I was feeling like I could do more to get into my character,” she explains. So I decided, What if I walked around New York trying to pass for a boy? What if I had to make people look twice to figure out what I was? I kind of got dressed up, and there were six photographers outside. I was walking my dog, and they know my dog, so all of the sudden I’m in a terribly unflattering outfit, I look like I’m auditioning for West Side Story, and it’s on the Internet! And it’s just like, I’m doing this for my job!”

Knowing this, we assume the wig she was wearing while having lunch at Cafe Gitane yesterday was also in service of the Craft. But for what role? The title character of The Rainbow Brite Story?


(For those interested where: )

Cafe Gitane
242 Mott Steet (between Houston and Prince)
New York, NY 10012
212-334-9552



Menu:
http://nymag.com/listings/restaurant/cafe-gitane/menus/main.html

Map:
http://nymag.com/search/search.cgi?map_view=1;listing_id=4847
"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Meryl

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  • There's no reins on this one....
Sounds nice.  Any excuse for another brunch trip!  ;D
Ich bin ein Brokie...

Offline Aloysius J. Gleek

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Tonight (Thursday, June 25, 2009) is the official opening of Shakespeare in the Park's Twelfth Night,  starring you-know-who, and this is the first really nice day in more than a month; the sun is suddenly shining and the air is clear and breezy. Very good Outdoor Theatre Karma--I mean, break a leg, Anne!

We'll try and see it by the middle of next week--in the meanwhile, here's this:

http://newyork.timeout.com/articles/theater/75758/twelfth-night-at-delacorte-theater-theater-preview




Theater
Twelfth Night
A guide to the stars in the park.
By David Cote; Photographs By Joan Marcus



Raúl Esparza (Orsino)
Esparza is still hot from his scene-stealing turn opposite Jeremy Piven in Speed-the-Plow;  he’ll make the sometimes thankless role of Duke Orsino memorable.


Daniel Sullivan (director)
America’s go-to director for Pulitzer-caliber new drama (Rabbit Hole, Proof, Dinner with Friends ), Sullivan is also the secret behind any success this Twelfth Night  might have.


Audra McDonald (Olivia)
We’ve seen this multiple-Tony winner sing classics, break in new, difficult musicals and act the hell out of straight drama. Shakespeare? A walk in the park.


Hamish Linklater (Sir Andrew Aguecheek)
From the Michael Cera school of awkward comedy, this lean, deadpan thespian is sure to surprise us with sneak-attack line readings.


Julie White (Maria)
The woman can get laughs with a raised eyebrow or a perfectly calibrated double take. Comic genius and sex appeal in one zany package.


Anne Hathaway (Viola)
She’s the celebrity draw but no tyro: She appeared in the 2002 Encores! production of Carnival  and won the Clarence Derwent Award for it.


David Pittu (Feste)
Dry yet goofy in his sense of humor, character imp Pittu manages to marry melancholy and daffiness; we look forward to his sad clown.


Michael Cumpsty (Malvolio)
Need a seasoned actor to bring golden pipes, an erect bearing and square-jawed good looks to your classic? Cumpsty’s your man.


Jay O. Sanders (Sir Toby Belch)
We loved him two summers ago as blustery Bottom in A Midsummer Night’s Dream,  and now Sanders returns to bombast his verse as the drunken knight.


Twelfth Night, Shakespeare’s delicious comedy about a shipwrecked, cross-dressed heroine and a snobby butler,
is at the Delacorte Theater through July 12.

Time Out New York / Issue 717 : Jun 25–Jul 1, 2009
"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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http://www.nytimes.com/slideshow/2009/06/26/theater/20090626_TWELFTH_SLIDESHOW_index.html


‘Twelfth Night’

The Shakespeare in the Park production of "Twelfth Night" opened Thursday at the Delacorte Theater
in Central Park.
"The Viola of the gamine movie actress Anne Hathaway is the marquee attraction that will surely
make the production the summer's buzziest theater ticket."



"Mr. Esparza's exasperated glower and wry line readings give the character an appealing, underdog
humanity."



"The turbulent feelings erupting so suddenly in Olivia's heart are rendered
with a lovely glow in Ms. McDonald's lustrous performance."



Audra McDonald, left, as Countess Olivia, with Anne Hathaway in male disguise as the page Cesario.



Jay O. Sanders as Sir Toby Belch with Julie White as Maria.



Jon Patrick Walker plays Fabian.



From left, Ms. McDonald, Stark Sands as Sebastian, Mr. Esparza and Ms. Hathaway.






"The dark strains in the music, the complicated colors in all the major performances, even the dependable
uncertainty of the weather in Central Park, where for much of June it seemed indeed as if 'the rain it raineth
every day' -- all contribute to the moving sense that the richest joys are hard won, the triumph of love just
a hair's breadth away from the heartbreak of loss."




http://theater2.nytimes.com/2009/06/26/theater/reviews/26night.html?hpw


THEATER REVIEW | 'TWELFTH NIGHT'
I Love You, You’re Perfect.
You’re a Girl?


Anne Hathaway and Raúl Esparza in the Shakespeare in the Park production of "Twelfth Night,"
at the Delacorte Theater.

By CHARLES ISHERWOOD
Published: June 26, 2009


“Most wonderful.” The exclamation of joyous surprise that bursts from the lips of Countess Olivia at the climax of “Twelfth Night,” when she discovers that her new husband appears to have divided himself in two, seems an apt reaction to the scintillating new production of Shakespeare’s romantic comedy that opened Thursday night at the Delacorte Theater in Central Park.

“Twelfth Night” is a perennial favorite, and with its multifaceted plot mixing sweetness, sadness and silliness it is also about as surefire as Shakespeare plays get. If the romances are dreary, the comedy may still crackle. And vice versa. But this polished staging, expertly directed by Daniel Sullivan, is the most consistently pleasurable the city has seen in at least a decade. And it is certainly one of the most accomplished Shakespeare in the Park productions the Public Theater has fielded in some time. Incidentally — or perhaps not — the varied talents of its all-American lead cast help restore faith in the city’s ability to cast Shakespeare in depth.

All together now: most wonderful!

The Viola of the gamine movie actress Anne Hathaway is the marquee attraction that will surely make this production the summer’s buzziest theater ticket. But among the many pleasures of her performances is its effortless modesty. On screen or onstage Ms. Hathaway possesses the unmistakable glow of a natural star, but she dives smoothly and with obvious pleasure into the embrace of a cohesive ensemble cast.

A frankness of manner and a brisk emotional clarity are the hallmarks of her performance. As Viola moves from heartbroken over her brother Sebastian’s apparent drowning to heartsore over her love for Duke Orsino (Raúl Esparza), who enlists her to help woo his own love, Countess Olivia (Audra McDonald), Ms. Hathaway traces the transformations with an open manner and a bright humor that feel spontaneous and unforced.

I probably don’t need to tell you how lovely she looks in male disguise as the page Cesario, with her dark hair in a floppy crop. Hard as Ms. Hathaway tried to look harsh in “Rachel Getting Married,” her savage scowl could never hide the freshness of her beauty. Judging by the stylish costumes from Jane Greenwood, Mr. Sullivan has set the play around the early 19th century. In her smart, brass-buttoned blue military jacket and boots Ms. Hathaway looks like a young duke who has stepped boldly forth from a classic British portrait of the era, a bright pink bloom on his pallid cheek.

It’s true that Ms. Hathaway’s speaking of the verse could benefit from a more sophisticated lyric impulse. The wit and meaning are delivered purely while the music is a little muted. But that is a small flaw in a performance of vivid passions in the play’s crucial role, which binds together the various journeys ending in lovers’ meetings.

These include the confusions of Olivia’s instant adoration for Viola — when she is dressed as Cesario, that is. The turbulent feelings erupting so suddenly in Olivia’s heart are rendered with a lovely glow in Ms. McDonald’s affecting performance. She is among the most accomplished musical theater performers of her generation (and gets to sing a little here, fans will be happy to know), but her musicianship doesn’t stop at the level of the verse. In the arcing emotional phrases of the role — Olivia’s snapping to life under the charm of Cesario’s testy challenge, or her instant wilting at “his” rejection — Ms. McDonald limns the surging music of love’s unfolding with touching truth.

Mr. Esparza too is a fine musician who is given a chance to display his vocal prowess in song. But the roguish appeal of his performance derives primarily from his glum humor. Until he discovers the truth about the page to whom he finds himself naturally attracted, Orsino can’t catch a break.

Mr. Esparza’s exasperated glower and wry line readings give the character an appealing, underdog humanity. Exiting the stage in a bitter mood, he is upbraided by a burst of upbeat music. Ostensibly reaching for the hand of his crossed-dressed Viola at the play’s climax, he stops short in mortification at the discovery that he is looking into the eyes of her brother, Sebastian (well played by the excellent young actor Stark Sands, supported by the equally fine Antonio of Charles Borland).

Music, as you may have gathered, is far from incidental to the production. The handsome score is written and performed by the “symphonic folk-rock” band Hem. In addition to the songs — most expertly led by the gifted comic actor David Pittu as a sour ragamuffin Feste — there is music to add color, wit, life to almost every scene, played on a mixture of strings, percussion and woodwinds, the sound evoking a distant era without straining for period authenticity.

Comedy can never be incidental to a successful production of “Twelfth Night” of course. In many cases the roistering antics of Sir Toby Belch (Jay O. Sanders), his clueless companion Sir Andrew Aguecheek (Hamish Linklater) and Olivia’s wily gentlewoman Maria (Julie White) tend to overrun the proceedings, taking over the play as Sir Toby threatens to take over his niece Olivia’s household with his happy carousing. Here they are played with a vivid wooliness but none of the laboriousness that can be so grating. The sozzled staggering and actual belching of Sir Toby are precisely funny without being overbearing; Ms. White’s Maria has a delicious, earthy sparkle; and Mr. Linklater strikes sharp comic notes as he preens atop or tumbles down the steep hillocks of the grass-covered set designed by John Lee Beatty.

Also making good use of the set’s architecture is the reliably fine Michael Cumpsty as the ill-mannered and ill-used Malvolio. One of the funniest sight gags finds Mr. Cumpsty’s grim Dickensian pout suddenly transformed into a giddy grin, popping up in bloom on one of the hills like a mutant daisy.

Despite all the present mirth Mr. Sullivan weaves throughout the production an equally present melancholy. For much of the play’s running time it is clear that the pursuit of love is a pastime as vexing, troubled and potentially humiliating as any human endeavor, a kind of emotional shipwreck that, like real ones, can end either in disaster or salvation. The dark strains in the music, the complicated colors in all the major performances, even the dependable uncertainty of the weather in Central Park, where for much of June it seemed indeed as if “the rain it raineth every day” — all contribute to the moving sense that the richest joys are hard won, the triumph of love just a hair’s breadth away from the heartbreak of loss.

TWELFTH NIGHT

By William Shakespeare; directed by Daniel Sullivan; sets by John Lee Beatty; costumes by Jane Greenwood; lighting by Peter Kaczorowski; sound by Acme Sound Partners; music by Hem; wig design by Tom Watson; fight director, Rick Sordelet; choreography by Mimi Lieber; production stage manager, Stephen M. Kaus; general manager, Andrea Nellis; associate artistic director, Mandy Hackett; associate producer, Jenny Gersten; director of production, Ruth E. Sternberg. Presented by the Public Theater, Oskar Eustis, artistic director; Andrew D. Hamingson, executive director. Shakespeare in the Park, at the Delacorte Theater in Central Park, south of 81st Street; (212) 539-8750. Through July 12. Running time: 2 hours 45 minutes.

WITH: Raúl Esparza (Orsino), Herb Foster (Valentine), Anne Hathaway (Viola), Jay O. Sanders (Sir Toby Belch), Julie White (Maria), Hamish Linklater (Andrew Aguecheek), David Pittu (Feste), Audra McDonald (Olivia), Michael Cumpsty (Malvolio), Charles Borland (Antonio), Stark Sands (Sebastian) and Jon Patrick Walker (Fabian).



NEWEST READER REVIEW
A Sweet Surprise, June 19, 2009

Reviewer:

I stumbled into the theater with no expectations and left floating -- it is joyous, with colorful and pitch-perfect performances. The music is so beautifully intertwined that it is worth seeing as a concert. The play successfully gathers momentum and practically brings the audience to their feet. Not to be missed!

"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

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Looks like colorful, joyous fun!
"chewing gum and duct tape"

Offline Aloysius J. Gleek

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Looks like colorful, joyous fun!




Yes, it does!



http://www.people.com/people/gallery/0,,20287617_20639059,00.html




STATE OF PLAY
Looks like she's having an enchanted evening! Anne Hathaway gets swept off her feet during an afterparty performance Thursday following her debut in the Shakespeare in the Park production of Twelfth Night  at the Delacorte Theater in New York's Central Park. The live performance runs through July 12.

"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Meryl

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Wow!  Looks absolutely great.  Can't wait to see it.  Thanks for the review, John!  :-*
Ich bin ein Brokie...