Page 12

ROLIN’S RIB: Refashioning a Classic Comedy Unless you jump in the WABAC Machine that is London’s Globe Theatre, you will rarely have your Shakespeare served up to you in its original codpieces and farthingales. Most modern productions of the Bard’s plays seek to find an analogous setting that will bring both the poetry and the plot home to today’s audiences. And whether it’s because the 21st century is still largely in rompers and footy pajamas or because directors have fond and full memories of its older sister, that setting often hales from the signifier-rich 20th century. In fact, some of the more frequently performed plays seem to have found fallback correlatives which have themselves become a bit clichéd. The totalitarian efficiency of Richard III’s evil almost routinely gets him fitted for a pair of very shiny jackboots and a black uniform. The surfeiting decadence of Measure for Measure usually lands it in the gold-laméd patchwork of Gustav Klimt’s Wiener Werkstätte. The multiracial militarism of Othello finds its groove in South-Pacific-manqué khakis. And Much Ado About Nothing wriggles into the bespoke silk, bias gowns of the 1930s Hollywood rom-com, with Beatrice and Benedick played in the urbane but familiar rhythms of William Powell and Myrna Loy or Carole Lombard, of Cary Grant and Katharine Hepburn or Irene Dunne.

10

Profile for Yale Repertory Theatre

THESE PAPER BULLETS!  

THESE PAPER BULLETS! A Modish Ripoff of William Shakespeare's MUCH ADO ABOUT NOTHING, Adapted by Rolin Jones, Songs by Billie Joe Armstrong,...

THESE PAPER BULLETS!  

THESE PAPER BULLETS! A Modish Ripoff of William Shakespeare's MUCH ADO ABOUT NOTHING, Adapted by Rolin Jones, Songs by Billie Joe Armstrong,...

Profile for yalerep