Shirin Tinati

Hans Christian Andersen: Tales Real & Imagined

May 7, 2019

Eve Wolf’s new play for the Ensemble for the Romantic Century, titled "Hans Christian Andersen: Tales Real & Imagined," suggests that the real-life Andersen might actually have appreciated whitewashed depictions of his life, maybe even the Kaye movie. The Andersen that Wolf gives us is an unattractive and unhappy misfit. We hear, though, more than once, his mantra of self-assuring optimism—which, it seems, fooled no one, including the storyteller himself: [more]

Maestro

January 16, 2019

Eve Wolf’s play is essentially a monodrama, with John Noble portraying the title character. The production is a rich one, both visually and aurally. It features an abundance of live music, performed by a vivacious string quartet (violinists Mari Lee and Henry Wang, violist Matthew Cohen, and cellist Ari Evan), along with a pianist (Zhenni Li) and a trumpeter (Maximilian Morel). In addition, excerpts from historical recordings are heard. Meanwhile, extensive animated projections from designer David Bengali become central to the overall effect. The play is a kaleidoscopic, sense-stimulating experience that seems at times just to avoid becoming a three-ring circus. [more]

Mary Shelley’s Frankenstein

December 28, 2017

Fairchild speaks well and communicates much with his physique, but his choreography is repetitive and uninventive. Here was a chance to breathe new life into a too familiar character. All Fairchild could come up with is lurching movements and awkward falls to the floor. He takes the obvious path to create his character with movement when he had a chance to illuminate the Monster’s inner emotions. [more]

Van Gogh’s Ear

August 21, 2017

Projected titles indicate place and year—beginning with Arles, 1888 and progressing until van Gogh’s suicide—which we hear as an offstage gunshot—in July of 1890. The audience is treated to Vincent’s thoughts on his painting technique, his poverty, his mental health, his fellow artists, stars, sunflowers, all interrupted by chamber music by Debussy, Fauré, Chausson and Franck played—in various combinations—by Henry Wang (violin), Yuval Herz (violin), Chich-Fan Yiu (viola), Timotheos Petrin (cello), Max Barros (piano) and Renana Gutman (piano). [more]