Written By GingersnapComments Off on Damian Lewis Says New Role Ideal for Era of Brexit and Trump – April 6, 2017
Damian Lewis Says New Role Ideal for Era of Brexit and Trump
by Jill Lawless – Associated Press – April 6, 2017
Source: The Goat Play and AP
LONDON (AP) — British actor Damian Lewis says his latest role as a man in love with a goat is perfect for our unsettled times.
The “Homeland” and “Billions” star is back on the London stage in Edward Albee’s “The Goat, Or Who is Sylvia,” a tragicomedy about a successful, happily married architect whose sudden passion for a farmyard animal has devastating consequences.
A verbally dazzling, emotionally draining exploration of love and the limits of tolerance, the play’s new London production drew laughter and shocked gasps from its opening-night audience Wednesday.
After the show, Lewis said the play suits a time when “we feel generally more uncertainty and more absurdity in our politics at the moment, both here and in the U.S.”
“And this is a play where something drops out of the blue sky that’s utterly shocking, that’s unexpected and it causes great uncertainty and not a little trauma through the course of the play,” he said.
Written By GingersnapComments Off on West End Review: ‘The Goat, or Who Is Sylvia?’ With Damian Lewis, Sophie Okonedo – April 6, 2017
West End Review: ‘The Goat, or Who Is Sylvia?’ With Damian Lewis, Sophie Okonedo
by Matt Trueman – Variety – April 6, 2017
THE GOAT by Edward Albee, Directed by Ian Rickson, Designed by Rae Smith. The Theatre Royal Haymarket, London, UK – 2 March 2017 – Credit: Johan Persson
A married, middle-aged man falls in love with a goat. Edward Albee’s set-up might be simple, but it’s perfectly positioned – silly and shocking and, at its best, achingly sad. “The Goat, or Who Is Sylvia?” deserves far better than Ian Rickson’s stagey production starring Damian Lewis and Sophie Okonedo, which plays the joke ahead of the emotional truth. As such, a play that should feel like a brain glitch, one that tap dances over all manner of taboos, emerges instead on an even keel, too level-headed by half. Albee’s tragicomedy throws every convention into question. Rickson and his cast cling to them for dear life.
At a moment of crumbling liberal consensus, uncertainty raging like a wildfire, “The Goat, or Who Is Sylvia?” is all too pertinent. Martin (Lewis) is a world-renowned architect, long happily married to a bright, breezy woman (Okonedo). They’re perfect bourgeois liberals, an interracial couple with a gay teenage son (newcomer Archie Madekwe). Their brownstone, in Rae Smith’s design, is a bastion of good taste — Eames chairs and exposed brickwork, a Bauhaus book on the floor. Martin’s just turned 50. He’s a bit out of sorts. And he’s taken up with a goat named Sylvia. They’re in love.
Lewis makes abundantly clear that Martin means no malice and poses no threat. He’s an unworldly, sweet-hearted soul, as helpless as he is harmless. He’s almost too soft for society, an intellectual naïf whose wife steers him through life. Right now, he’s unable to recall simple names or dates, and greets his oldest friend (Jason Hughes) like a familiar face he can’t quite place. It’s as if his brain’s been rebooted. When Lewis pulls up a chair, it’s like he’s forgotten how to sit down. Everything, in other words, is up for grabs.
Band of brothers: Damian Lewis, John Goodman and Tom Sturridge in rehearsal for the London revival of David Mamet’s American Buffalo Photo: Jenny Lewis
It is a week into rehearsals for the new production of David Mamet’s American Buffalo, and the play’s three actors,John Goodman, Damian Lewis and Tom Sturridge, have been getting to know each other. They have been to lunch. They have been playing poker. (Who won, I ask? “Becca,” says Sturridge ruefully, referring to the production’s youthful assistant stage manager, who has been ruthlessly cleaning them all out.) And, of course, there have been long and earnest discussions about the text.
“There are few things that are more revealing about someone than the way that they talk about a piece of literature or a play,” Sturridge says. “You very quickly come to have a much deeper understanding of someone than you would if you just mingled together in a pub saying, ‘All right, how are you?’ Very quickly we were talking in an intimate way about how people feel.”
Written By GingersnapComments Off on Hamlet: Swordplay the Serious Way, New York Times, July 2, 1995
Hamlet: Swordplay the Serious Way
By Matt Wolf, theater critic and journalist in London, New York Times, July 2, 1995
LONDON— “A HIT, A VERY PALPABLE HIT!” cries the courtier Osric during the climactic duel of “Hamlet.” And in the Broadway production now at the Belasco Theater, those hits are palpable indeed.
Productions of “Hamlet” are often distinguished by verse speaking or physical design. Jonathan Kent’s current staging, imported from the Almeida Theater Company in London, offers an additional virtue in the face-off between Hamlet (played by Ralph Fiennes) and Laertes (Damian Lewis). Beginning on a white rectangular fencing mat, the fight soon spills beyond it, weaving among the chairs of Claudius’s dismayed court as the two combatants become increasingly fevered.
Written By GingersnapComments Off on Who Will Be The New Ralph Fiennes, The Next Hugh Grant? – Jan 1, 1995
Who Will Be The New Ralph Fiennes, The Next Hugh Grant?
By Matt Wolf – New York Times – January 1, 1995
LONDON— NOT LONG AGO, DANIEL Day Lewis and Kenneth Branagh were the British names on everyone’s lips when it came to actors; more recently, Hugh Grant and Ralph Fiennes have dominated Hollywood’s imagination. Which raises the inevitable question: Who among current British actors are poised to become the next Hugh Grant and the next Ralph Fiennes?
Written By GingersnapComments Off on Hamlet in the Park – June 17, 1994
Hamlet in the Park – Theatre
by Alastair Macaulay – Financial Times – June 17, 1994
This most excellent canopy the air, look you . . . It makes a difference to when you can see the firmament Hamlet is talking about, and here is one of the gains of watching Hamlet in the Open Air Theatre in Regent’s Park. With the sky above he counts himself king of infinite space; amid the theatre he might be bounded in a nutshell. Continue reading Hamlet in the Park – June 17, 1994