Q: I just saw that you are going to play in Dödsdansen (Dance of
Death) on Broadway, which unfortunately I won't be able to see since there
is no way I could save the money for a trip to USA right now. Is this your
first encounter with Strindberg (or any other Swedish playwright for that
matter) and what do you think of our (I'm Swedish, obviously) contribution
to the world of theater?
A: This is my first direct encounter with Strindberg although I
had seen Dance of Death
twice on stage (in English) and recently Robert Wilson's version of his Dream
Play. In preparing for this production the cast have looked at
Strindberg's photographs and paintings and read some of his published
letters. I concur with the academic view that he single-handedly
established the major developments of modern theatre and recognise his
influence on some of my favourite playwrights from Nöel Coward to Samuel
Beckett.
Reading Dance of Death
From: Deborah Rich
Q: Huzzah! I have my tickets to "Dance of Death" and am
looking forward to seeing you perform on stage (my first time). I've just
received a copy of Strindberg's play, as translated by Arvid Paulson, from
the public library. Do you have any suggestions for someone who is reading
it for the first time?
A: I'm not familiar with the Paulson translation - ours is by
Richard Greenberg which has been admired for its witty phrasing and a
modern style that isn't at odds with a play written 100 years ago.You won't need to bone up on the play in advance of our production -
the story is clear and easy to follow (and laugh along with!)
Richard Greenberg
9-11-01 and after
From: Robert Catto robert_catto@yahoo.com :
Q: I just wanted to wish you strength and health during your time in
New York, with the hope that your work there will not have been in vain,
and that the production will continue and bring what hope and strength it
may offer to the citizens, as is part of the purpose and nature of art.
Perhaps some will find solace in the shared experience of theatre; and it
seems natural to offer what skills we have available, each in our own way.
A: Broadway shows closed on 11 and 12 September then reopened
with their marquee lights dimmed in respect. We were rehearsing on 44th
Street where I watched the exploding towers on the large video screens of
Times Square: we didn’t interrupt our work.
Since we started preview performances three weeks ago we have
played to full houses of local residents, the real theatre enthusiasts,
who like us performers believe that “the show must go on”. Theatre
ministers to the spirit and imagination and at times of national stress,
many people hold on by sitting in the dark with like-minded people,
laughing and crying at the world’s antics. Dance of Death and its
neighbours on west 44th Street, The Producers and Phantom of
the Opera may have nothing to say about the Middle East and America.
That doesn’t make them irrelevant to the lives of the audience.
Mayor Guiliani has urged tourists and New Yorkers to get out and
back to the theatres and restaurants for which the city is most famous.
It may be some time before the current disaffection with air
travel fades and people start visiting Manhattan once more. I have had
recent visits from intrepid Europeans but Americans are still nervous it
seems. When they do come here they will find Broadway as joyful and even
as confident as ever.
Charlie Rose
From: Rosemary Kenah:
Q: Your coming to New York at this time and giving a bravo performance
in "Dance of Death" was a tonic for many of us. By the way, when
is Charlie Rose going to show your interview?
A: We have all felt very welcome. Helen Mirren and I were bumped
from Charlie Roses’s show two weeks back by Henry Kissinger. Maybe when
the programme reverts to its usual formula which includes the arts as well
as politics, we may be asked back.
Helen Mirren (Alice) and Ian McKellen (Edgar)
in Dance of Death
Relaxing
Q: How tiring are 8 performances a week? How do you relax?
A: Three times a week, rehearsals were preceded by Kundalini Yoga
sessions which stretched us for long days standing up and emoting and, in
my case, dancing. I still can’t quite believe that I am actually dancing
as well as acting on Broadway and it is that wonderment at my luck that
keeps me going. I eat carefully and sleep a lot but I like a night out and
I’m not a hermit. The play is short and I get to sit a lot –
Shakespeare by contrast lasts for hours and has you, like as not, fighting
to the death before the end. In Dance of Death I end up sitting on
the stage itself chatting to Helen Mirren.
