An incomplete bit of context about this production off the top of my head, since I’ve been asked a few times now

The 92nd St Y is a venerable institution of New York high culture, originally linked to the cultural tastes of the Manhattan Jewish elite, to which it still has connections. But in the more than century since its founding it’s become a major sponsor of and venue for New York City high culture. It’s a place where you can go to hear talks and readings and performances by the most important figures of high culture, especially authors, poets, actors, artists, musicians, ensembles and so on. Their poetry series is considered particularly important (that’s my main interest in / interface with them). So, no, it’s not Broadway. It’s a one-time reading of a piece that’s considered primarily of canonical importance. At the same time, it’s clearly a high culture credential. This will be the most high culture piece of work anyone will have seen Richard Armitage perform since well before North & South. It’s exactly the kind of thing that someone who wants to do serious theater would want to do — and just the place to be noticed by serious culture lovers and theaterheads.

Ed Sylvanus Iskandar is a very in-demand director in NYC at the moment, having been nominated for a Drama Desk Award in 2012. He’s very active in experimental theater circles. He’s a very good person for Armitage to be working with if he wants to get to know, and be known in, the New York theater world.

Di Trevis is an important and well-known British director and teacher with connections to the British National Theatre, the Royal Shakespeare Company, and the Drama Centre London. She’s taught both Kenneth Branagh and Gary Oldman, among others, and has led a series of important theater workshops in the U.S. as well. In particular, Trevis worked with Pinter on this piece while at the British National Theatre. Trevis has repeatedly shown an interest in furthering the careers of young actors.

I’ve wondered whether Trevis was the acting coach / workshop leader who helped Richard Armitage to the breakthrough he described in an early interview, the one that came when he realized he “had the instrument.” I was wrong about that; Armitage described that person as an “American.” Too bad.

But Armitage is linked to Annabel Capper, who has worked periodically as Trevis’ workshop assistant since the early 2000s. Capper also has connections with the NYU high culture theater circles through her repeated work with Mark Wing Davey on The Passion Play (both in the past, at the Lincoln Center Theater, and as recently as 2013).

So that’s what I know.

~ by Servetus on January 11, 2014.

14 Responses to “An incomplete bit of context about this production off the top of my head, since I’ve been asked a few times now”

  1. Reblogged this on the armitage effect and commented:
    More info about the context of the reading RA will be participating in in NYC later this month . . . pretty heady stuff. Thanks, Serv!


  2. I’m deliriously happy for him!


  3. Do they ever tape these events, or are they strictly live performances?


    • I don’t really know, but I’m guessing that they do have to pay royalties for this event so they won’t be taping. Again, I don’t really know, though.


      • Well, maybe someone will capture it on their phone. It wouldn’t be the first time.


        • they apparently have youtube channels. (shrugs) Given the event price, though, in combination with whatever their underwriter is supplying, I doubt that they are doing more than covering the rental of the event space. Broadcast or reproduction rights would be more.


  4. Thank you 🙂


  5. It sounds really good – I am looking forward to read or hear or see more! Thank you for the information, Servetus!


  6. Do I start re-reading Proust now or is Harold Pinter’s play? screenplay? published somewhere? Of course, from what I gather from their site, this is something that has never been played but has potential.


  7. […] it might have seemed that way. Previously I had speculated that this director might have been Di Trevis, but she is not American. Flacks is American (b. Daytona Beach, 1943), so that piece would fit. The other way to date this […]


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