Recent Reviews
Translator's Notes: Austin Shakespeare's EL CID by Pierre Corneille, November 10 - 26, 2023
by Michael Meigs
Published on November 22, 2023
Sitting in the audience, the translator was enchanted, deeply immersed in the characters, hypnotized that his own words were about to be spoken, and grateful to Austin Shakespeare for the opportunity.
Ann Ciccolella’s mid-August email to me, a casual inquiry about a play script, was the beginning of a translation experience as unexpected as it was spellbinding. Her plan was for Austin Shakespeare to produce a translation of Pierre Corneille’s classic romantic drama Le Cid, written in 1636, an oeuvre still held in such reverence by the French that it’s still taught to middle schoolers. Our daughter, obliged to study it at that age, was taken …
Review: El Cid by Austin Shakespeare, November 10 - 26, 2023
by David Glen Robinson
Published on November 13, 2023
Austin Shakespeare's EL CID provides a super-good sword flight and intense moral conflicts expressed in blank verse both in English and Spanish, performed by a hardworking cast on a starkly bare stage.
Austin Shakespeare has just premiered a new translation of Pierre Corneille’s Le Cid at the Rollins Studio Theatre at the Long Center. Its lengthy production period heightened the theatre community’s anticipation. Austin Shakespeare’s El Cid gives us a certain innovation in language. The play, written in French, premiered in Paris in 1636. This modern translation is a bilingual English/Spanish version. The translation is by Michael Meigs, who has long advocated for more balanced contributions by …
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Two CTXLT Reviews: DEATHTRAP by Ira Levine, Jarrott Productions
by David Glen Robinson
Published on November 08, 2023
Playwright Ira Levin displays his hubris by mocking his own cliché-loaded genre in approved Ivy League haute-snobbery while still entertaining and frightening audiences.
Death Trap is well-regarded as a model murder/thriller potboiler with plot twists and reversals presented to the audience at every peak of its impressive dramatic action. Of great enjoyment is the fact that in all the excitement, the play takes its time. Contrast that pacing to stand-up comedy's effort to deliver a punchline every six seconds. Still, the stage is strewn with many bodies after just two and a half hours playing time. What’s less …
Review: Antigone (David Rush) by Filigree Theatre
by Michael Meigs
Published on October 26, 2023
In Filigree Theatre's accomplished staging, the adversity and mutual destruction of Antigone and dictator Creon are entirely human. The gods are silent. As they are in our own day.
The choices are stark and the interests are opposed. As they were then, are now, and ever will be. Playwright/adapter David Rush thoroughly scrubs Sophocles's Antigone, like a museum curator carefully restoring a find from an archeological dig, rendering it from an odd antiquity into a darkly glowing relevant contemporary challenge. Director Elizabeth V. Newman, her cast, and the design team embraced the ritual nature of Greek drama with an almost liturgical staging. Eloquent and …
Review: Twelfth Night, or What You Will by The Baron's Men
by Michael Meigs
Published on October 20, 2023
Austin's Baron's Men is a Big Deal, and so is this TWELFTH NIGHT of comedy and courting we won't soon forget.
For those of you who weren't aware of it, the Baron's Men (BM) is a Big Deal and their Twelfth Night, winding up a three-week run at the Elizabeth-style outdoor stage The Curtain Theatre, is an equally big deal. Twenty-four years ago, enthusiasts associated with the video gaming industry grabbed the opportunity to occupy Richard Garriott's folly, a quarter-size replica of a sixteenth-century London theatre on the north bank of the Colorado just west of …
Review: Frankenstein (adapted by Nick Dear) by Gaslight Baker Theatre
by Michael Meigs
Published on October 18, 2023
Nick Dear tells the creature's story and the Gaslight Baker Theatre presents it with astonishing physicality and amazingly vivid projected detail.
The towering wall and platforms beyond the Gaslight Baker stage are swathed in white. When you settle into the already chilled audience space, you have the impression that you've been transported to the Arctic. That red, red sun in the distance is the only dim hint of possible warmth. A muted, percussive soundtrack seems to emanate from it as if from a celestial speaker. CTXLT reviews live narrative theatre -- stories told in words. There …