Here’s a rumor I’d like to start

I would really like to see Richard Armitage in the Theban plays. I might even fly to Mars to see it. I’m sure Obscura would have more to say about this.

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~ by Servetus on November 25, 2016.

20 Responses to “Here’s a rumor I’d like to start”

  1. Oh wow! This sounds close to what the two of them were talking about after The Crucible. I probably won’t be able to get there for this season – but good wishes to all other fans who can. Am I alone in hoping that commitments to Berlin Statement don’t foreclose this potential opportunity?

    • I think this would be 2017-18 (we’re already in the middle of 16/17), so assuming that Berlin Station filmed this spring, I’m guessing this would be sometime towards the end of 17, beginning of 18.

  2. I mean Berlin Station.

  3. Hmm. Hard to parse so few words (darn you, Twitter!), but to me sounds less like the Theban plays and more like a Farber-written re-telling of them. She’s big on adapting things; I saw her take on Salome last year.

    • I don’t know that that’s necessarily a reason to discount it before one’s seen it, though. I can’t understand it in Greek, and every performance I’ve ever seen of a Greek play has been an adaptation of some kind. Some closer to the original text than others.

  4. Oh I’m not discounting anything. I am very curious to see where this goes. I just know that her adaptations of Salome and Miss Julie were not subtle, and that the Salome I saw was a pretty radical shake-up of the traditional story as told in many forms including the Wilde play.

    • Sorry – that was meant as a reply to your reply to my last comment. I blame my turkey coma.

    • Yeah, subtle is not a word I’d use to describe her work, period. The Miller Estate typically binds people pretty closely to exact reproductions of the work. But even so, there was nothing subtle about The Crucible, either.

  5. Does that say Oedipus to Antigone? That is a whole lot of pathos to cram into a single play (it took Sophocles three plays to do it).

    As much as I’d love to see Richard Armitage as Oedipus or Creon, I have to admit that I’m a bit leery of how Yael Farber will adapt the text.

    • Creon — I had not thought of that.

      I think there are reasons to be leery. Still, I want to see it.

      • Creon is a great role in Antigone…if supporting in Oedipus.

        I would definitely want to see it, but I tend to be horribly critical of recreations of things classical (in my defense, there is just so much classical dreck out there)

        • I don’t disagree with the assertion that there’s lots of crap out there (I remember what a struggle it was trying to find a “straight” videotaped production of Antigone ten years ago that my students could watch, that wasn’t clogged up with all sorts of “concept”). But I assume you would agree that not every adaptation is dreck. I suppose viewers bring their different conceptual frameworks to anything they consume. But Armitage saddled with the hubris and then the burdens of Oedipus? Sign me up — I’ll take the risk that the adaptation may not be to my taste.

          • I would never venture to say that every adaptation is automatically bad.

            My leeriness is totally subjective. I just plain prefer adaptations that stay close to the original text, and from what I’ve read of Farber’s adaptation of the Oresteia, that’s a long shot. All that withstanding, I’d still desire to see it, but I doubt that London is in my budget in the next year in any case 😌

  6. Yeah…tantalizing in any case!

    • I wonder if there’s a calculation that he can do stuff that’s a bit more experimental now. With two fairly traditional productions under his belt and good reviews and audience numbers ….

  7. Greek tragedy is quite fascinating and intense, so I’d love to see him in this. But I generally prefer things to stay close to the original, although there are exceptions. But judging by how she worked with The Crucible a Farber version of these plays might be quite powerful.

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