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Cenci

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Tragedy
Chapter: 5 | Listen: 1

Written in 1819, but not first staged for over hundred years after it was written due to controversial themes of incest and parricide, it was not considered stageable. This tragedy is a true story, set in Rome, 1599, centred around the murder of the tyrant, Count Francesco Cenci, by his tormented daughter, Beatrice. – Summary by Jake Malizia Cast list: Count Francesco Cenci Greg Giordano Lucretia, wife of Cenci and step-mother of his children Sonia Beatrice, daughter of Cenci Jenn Broda Orsino, a Prelate ToddHW Cardinal Camillo Alan Mapstone First Guest Lynette Caulkins Second Guest Larry Wilson Third Guest David Purdy Andrea, servant to Cenci Jake Malizia Bernardo, son of Cenci HelloCentral Giacomo, son of Cenci Adrian Stephens Servant David Purdy Guard David Purdy Officer Alan Mapstone Marzio, assassin Larry Wilson Olimpio, assassin Andrew Gaunce Savella, the Pope’s Legate Rob Marland First Judge Sanarik Moirangthem Stage Directions Jake Malizia Editing: Jake Malizia [chương_files]

Büchse der Pandora

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Tragedy
Chapter: 4 | Listen: 1

Die Büchse der Pandora ist eine Tragödie in drei Aufzügen von Frank Wedekind. Sie ist die Fortsetzung von Wedekinds Tragödie Erdgeist. Beide Stücke wurden von Wedekind später als Bühnenfassung in einem Stück mit dem Titel Lulu. Tragödie in 5 Aufzügen mit einem Prolog zusammengefasst. (Zusammenfassung von Wikipedia) Die Rollen: Prolog: Der normale Leser: Algy Pug Der rührige Verleger: Marty Kris Der verschämte Autor: Seepferdchen Der hohe Staatsanwalt: Herman Roskams Lulu: P. J. Morgan Alwa Schön: Patrick Wallace Rodrigo Quast: Wupperhippo Schigolch: Rapunzelina Alfred Hugenberg: Birgit Die Gräfin Geschwitz: Ramona Deininger-Schnabel Graf Casti-Piani: Nadine Eckert-Boulet Bankier Puntschu: Herman Roskams Journalist Heilmann: Seepferdchen Madelaine de Marelle: Ezwa Kadéga di Santa Croce, ihre Tochter: Libby Gohn Bianetta Gazil: Sandra G Ludmilla Steinherz: Margaret Espaillat Bob, Liftjunge: Julia Niedermaier Ein Polizeikommissär: Herman Roskams Kungu Poti: John Fricker Dr. Hilti: Marty Kris Jack: alanmapstone Audioschnitt: mahne und rapunzelina [chương_files]

Life and Death of Tom Thumb the Great

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Satire, Tragedy
Chapter: 3 | Listen: 6

Tom Thumb, small of stature, great of heart. This play was written as a parody of the tragic heroic biography of a great man, filled with biting satire as to people and events of the time. Note as warned by the title that this is not a happy-ending fairy tale. (Follow the etext link to see how the script is full of fictitious supposedly real researchy footnotes by “H. Scriblerus Secundus” providing fake references to the events and allusions of the play.) Supposedly Jane Austen put on a family performance of this play. – Summary by ToddHW Cast list: King Arthur, a passionate sort of king, husband to queen Dollallolla, of whom he stands a little in fear; father to Huncamunca, whom he is very fond of, and in love with Glumdalca: ToddHW Tom Thumb the Great, a little hero with a great soul, something violent in his temper, which is a little abated by his love for Huncamunca: Matthew Reece Ghost of Gaffer Thumb, a whimsical sort of ghost: Andrew Gaunce Lord Grizzle, extremely zealous for the liberty of the subject, very cholerick in his temper, and in love with Huncamunca: Alan Mapstone Merlin, a conjurer, and in some sort father to Tom Thumb: Wayne Cooke Noodle, courtier in place, and consequently of that party that is uppermost: Andrew James Doodle, courtier in place, and consequently of that party that is uppermost: Adrian Stephens Foodle, a courtier that is out of place, and consequently of that party that is […]

Cid

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Tragedy
Chapter: 5 | Listen:

Des deux prétendants de Chimène, son favori semble être agréé par son père. Ce digne fils d’un vieil homme vaillant et courageux n’est autre que Don Rodrigue. L’affront fait au père de ce dernier, par celui de Chimène, mettra-t-il en péril l’union des deux familles? (par Ezwa) Personnages : Don Fernand, premier roi de Castille – Cebes Dona Urraque, infante de Castille – Nadine Eckert-Boulet Don Diègue, père de don Rodrigue – Aldor Don Gomès, comte de Gormas, père de Chimène – buenavista Don Rodrigue, amant de Chimène – Stanley Don Sanche, amoureux de Chimène – Herman Roskams Don Arias, gentilhomme castillan – Dan Mewton Don Alonse, gentilhomme castillan – mb Chimène, fille de don Gomès – Ezwa Léonor, gouvernante de l’infante – Elizabeth Klett Elvire, gouvernante de Chimène – Nadia Un page de l’infante – Christian Didascalies: Ezwa [chương_files]

Perjur’d Husband, or The Adventures of Venice

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Tragedy
Chapter: 5 | Listen: 3

Centlivre’s first play: a tragedy. Star-crossed lovers, one married and the other betrothed elsewhere. Secret letters gone astray, gender changing disguises, climax at masked ball. – Summary by ToddHW Cast list: Count Bassino, a Savoyard, married to Placentia, and in Love with Aurelia: Mike Manolakes Armando, Bassino’s Friend: Alan Mapstone Alonzo, a Venetian Gentleman, betrothed to Aurelia: Wayne Cooke Pizalto, a Noble Venetian: Greg Giordano Ludovico, a Frenchman: Rémi Placentia, Bassino’s Wife: WendyKatzHiller Aurelia, a young Venetian Lady, betrothed to Alonzo, but in Love with Bassino: Jenn Broda Florella, her Woman: Availle Lady Pizalta, Pizalto’s Wife: Sonia Lucy, her Woman: Annie Mars Mountaine, servant to Ludovico; Page; Servant; Singer: ToddHW Stage Directions: TheIntern356 Editing: ToddHW [chương_files]

Erdgeist

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Tragedy
Chapter: 5 | Listen: 1

Erdgeist ist eine 1895 publizierte Tragödie in vier Aufzügen von Frank Wedekind. Uraufgeführt wurde sie am 25. Februar 1898 im Leipziger Krystallpalast vom neu gegründeten Ibsen-Theater, wobei der Autor den „Dr. Schön“ verkörperte. Die Fortsetzung von Erdgeist bildet Wedekinds Tragödie Die Büchse der Pandora von 1902. Beide Stücke wurden von Wedekind später als Bühnenfassung in einem Stück mit dem Titel Lulu. Tragödie in 5 Aufzügen mit einem Prolog zusammengefasst. (Zusammenfassung von Wikipedia) Die Rollen: Dr. Goll: Herman Roskams Dr. Schön: Lars Rolander Alwa: Patrick Wallace Schwarz: Marty Kris Prinz Escerny, Tierbändiger: Ramona Deininger-Schnabel Schigolch: Algy Pug Rodrigo: Wupperhippo Hugenberg: Birgit Escherich: Ernst Pattynama Lulu: Susanna Gräfin Geschwitz: Caroline Sophie Ferdinand: Julia Niedermaier Henriette: Nadine Eckert-Boulet Erzähler (Prolog): Rapunzelina Erzähler (Aufzüge): Kalynda Audioschnitt: Rapunzelina [chương_files]

Berenice

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Tragedy
Chapter: 5 | Listen:

Titus, emperor of Rome, wants to marry Berenice, queen of Palestine, but decides that Rome will not be able to handle having him marry a foreign queen. Berenice refuses to stay in this case and leaves Rome. Unlike many of the other Racine plays, there actually are survivors (albeit, broken-hearted survivors) at the end of this one! – Summary by ToddHW Cast list: Titus, emperor of Rome: Adrian Stephens Berenice, queen of Palestine: WendyKatzHiller Antiochus, king of Commagene: ToddHW Paulinus, a friend of Titus: Tchaikovsky Arsaces, a friend of Antiochus: Alan Mapstone Phoenice, a friend of Berenice: Jenn Broda Rutilus, a Roman: Larry Wilson Stage Directions: Sonia Editing: ToddHW [chương_files]

Macbeth

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Tragedy
Chapter: 5 | Listen: 3

Macbeth cuenta una historia de crimen y castigo entreverada de brujería y elementos sobrenaturales. Amparado en las engañosas profecías de las Hermanas Fatídicas, brujas o diosas del destino, Macbeth decide asesinar a su rey y tomar la corona. Consciente del horror al que se entrega, forja su terrible destino y se deja poseer por el mal que nace del ansia de poder, creyéndose invencible y eterno. Esta obra tenebrosa e inquietante, de acción vertiginosa, es también profundamente introspectiva. A través de un lenguaje metafórico y sensorial, la obra indaga en lo prohibido, explora la transgresión y ofrece la oportunidad única de compartir la vida interior de un asesino, con su horror y su misterio. – Summary by Phileas Fogg [chương_files]

Gamester

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Tragedy
Chapter: 5 | Listen:

The Gamester is Edward Moore’s most famous work, and while it has fallen into relative obscurity in the last century, at the time it marked an important shift in the staging of eighteenth century tragedy. More specifically, it was one of the first plays to depict bourgeois suffering through the valence of moral values, moving the genre away from the lofty depiction of kings and empires toward something much closer to home for middle-class audiences. As such, the play depicts the trials and tribulations of Beverley, a dissolute gambler whose uncontrollable addiction has endangered the financial security of his household. Unbeknownst to him, however, is the fact that his money is being pocketed by a cadre of villainous sharpers led by the Machiavellian Stukely, who has designs on Beverley’s wife and pretends to be his concerned friend. What follows is a drama that, while not possessing the greatest artistic merit, nevertheless affects us as keenly as it did the people who saw its first performance at the Drury Lane Theater on February 7, 1753. – Summary by Tomas Peter Cast list: Beverley: ToddHW Lewson: TJ Burns Stukely: Tomas Peter Jarvis: Alan Mapstone Bates: Joseph Tabler Dawson: Son of the Exiles Mrs. Beverley: Linda Olsen Fitak Charlotte: Eva Davis Lucy: Sonia Waiter: Nemo Narrator: Rob Board Editor: Tomas Peter [chương_files]

11/09/2024

Brand

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Tragedy
Chapter: 11 | Listen:

Inflamed by what he saw as his Norwegian homeland’s shocking betrayal of Denmark after the Prussian invasion of Danish territory, Ibsen wrote “Brand” as an indictment of human complacency and rigidity of mind. Composing this “dramatic poem” from his self-imposed exile in Italy, Ibsen had long agonized over the stodgy provincialism of his countrymen, but the abandonment of Denmark took on the dimensions in his imagination of a human tragedy far surpassing his own personal experiences. Brand is a priest who refuses to compromise, at the cost of great suffering to others, and who lives by unrealizable ideals. The play revolves around a cast of remarkable characters, such as Gerd the mad peasant girl with delusions of God; Ejnar the complacent artist; and Agnes the devoted lover. Ibsen’s breakthrough work, “Brand” could be seen as the true beginning of Ibsen’s career, and although (or because?) it was at the time the most fiercely-debated work of literature in Scandinavian history, it always remained one of the playwright’s favorite productions. The true genius of the work lies in the judicious balance of its indictment of philistine complacency and its warning against intolerant zealotry. The ambiguous character of Brand himself, principled and heroic while flawed, was seen by Ibsen as representing himself at his best. “Give Nothing, or give All,” said Brand, over and over, with stirring consequences.. ( Expatriate) [chương_files]