Interludes

VIEWPOINTS – Audio immersion that approaches theatrical alchemy: Free Shakespeare on the Radio’s RICHARD II and Playwrights Horizons’ SOUNDSTAGE series

• By drediman
• July 17, 2020
• No Comments

Four months into lockdown, I’m still convinced that nothing can quite replicate the experience of live theater. For me, at least, theater as we knew it invoked a personal, life-enhancing communion amongst all involved (i.e., performers, theater staff, audience members), not unlike the feeling of going to church. Since mid-March, I’ve been in regular pursuit of some sort of temporary replacement for my frequent pre-pandemic theatergoing habit. Because of social distancing restrictions, I’ve had to inevitably rely on technology to fill the gap, but I think it’s fair to conclude that the act of sitting in front of a computer screen is inherently incongruous with the real thing. However, of all the technological mediums I’ve dabbled with (e.g., captures of live performances, live made-for-Zoom productions), the one that I think comes closest to conjuring the alchemy of live theatrical performances may surprise you – the podcast. These audio-only experiences directly target the mind’s eye and are innately intimate (particularly with a good pair of headphones), two characteristics that also distinguish live theater. This week brought to my attention two examples that further support my theory.

The Public Theater and WNYC’s podcast of William Shakespeare’s “Richard II”.

One of the things that I miss most about summers in the city is the great New York tradition of attending the Public Theater’s Free Shakespeare in the Park productions. A lot of the time, these are buzzy, starry endeavors that have the air of “event” around them. Although we’ll have to do without the Delacorte this summer, the Public – in association with WNYC – have resourcefully repurposed this summer’s planned production of Richard II (HIGHLY RECOMMENDED) as an annotated radio play under the banner Free Shakespeare on the Radio. Beyond simply enacting the Bard’s underrated history play, WNYC and the Public have also interjected into the play – with the help of critics, scholars, the cast, and the creative team – dispersed commentary about the work’s relevance in today’ rapidly evolving world order that’s not only enlightening, but also ideal lifelines for newcomers to Shakespeare. Directed with purpose by Saheem Ali and luxuriously spread over the course of four consecutive nights, I’m happy to report that I was gripped and riveted to my headphones by the play’s pointed political intrigue and often ravishing, evocative language (this is one of the few Shakespeare plays to prominently feature elegant rhyming couplets). The color- and gender-“conscious” cast is led by film star André Holland (of Moonlight fame) as the ineffectual Richard II and Miriam A. Hyman as Bollingbroke (who is eventually rechristened and crowned as King Henry IV), the revolutionary who usurps power from the titular monarch. Their unaffected performances are marked with startling clarity that had me hanging on their every word. The same can be said of the rest of the aggressively diverse cast, which includes such luminaries as of Stephen McKinley Henderson, John Douglas Thompson, and Phylicia Rashad. Given that this Richard II is an audible experience, not an insignificant portion of its success is attributable to the essential contributions of composer Michael Thurber for his expressive score and sonic landscapes and technical director Isaac Jones for making it all unfold so seamlessly. You can hear the podcast here.

Season One of Playwrights Horizons’ Soundstage podcast series.

Over the last few days, I’ve also been able to listen to the final three episodes of the maiden season of Soundstage (collectively, HIGHLY RECOMMENDED), Playwrights Horizons’ wholly successful podcast series. Interestingly, Playwrights Horizons had already completed production of the first season when covid put a full halt to live theater. Lucky for us. Ranging from approximately 10 to 30 minutes per episode, these adventurous bite-sized treats – written by some of American theater’s brightest talents – have been the perfect escapist entertainment for short work-from-home breaks or the occasional sleepless night during these disorienting times. Like the first set of episodes, the latter bunch is similarly untethered to convention, as if the playwrights’ imaginations and intellects were encouraged to roam unchaperoned. First up was Nightnight (Episode 5) by the Lucas Hnath (Hillary and Clinton, The Christians). The high profile playwright’s latest – about a tense, three-astronaut space mission – unfolds like your conventional radio play, albeit one that’s exceptionally well-crafted, complete with consistently high stakes and tightly-constructed scenes. Then there was Milo Cramer’s Boy Factor (Episode 6), a monologue that quirkily explores manhood and masculinity through a series of amusing autobiographical vignettes. Mr. Cramer first came to my attention via his surreal play Cute Activist at the Bushwick Starr. Boy Factor is just as irreverent and charmingly undisciplined. Last but not least was the mini-musical The Edge of Night (Episode 7) by Kirsten Childs (The Bubbly Black Girl Sheds Her Chameleon Skin, Bella: An American Tall Tale). Like Prime, Heather Christian’s gorgeous musical season opener, Ms. Childs’ deceptively light-hearted work about race relations, bloodlines, and the power of art is surprisingly expansive given its compactness (it runs less then 15 minutes). It’s also just as addictive. God knows that the end to all this is far from sight. That being said, thank goodness there’s a second season of Soundstage to look forward to. You can access Season One of Soundstage here.