Twelfth NightOffizielle deutsche Übersetzung
im Auftrag von Concord Theatricals 2022 |
Robin Kulisch.
Twelfth Night |
Musical
von Shaina Taub & Kwame Kwei-Armah (2012) Offizielle deutsche Übersetzung im Auftrag von Concord Theatricals 2022 |
Offizielle deutsche Übersetzung des Musicals von Shaina Taub und Kwame Kwei-Armah, basierend auf Shakespeares "Was Ihr Wollt".
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Über das
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Musik & Liedtexte
Shaina Taub Entwickelt von Kwame Kwei-Armah & Shaina Taub Uraufführung 01. September 2016 Public Theatre Delacorte Theatre New York Off-Broadway-Premiere 16. Juli 2018 Public Theatre Delacorte Theatre New York |
Von "Time", "The Hollywood Reporter" und "The Washington Post" als eine der besten Theaterproduktionen des Jahres 2018 bezeichnet, ist "Twelfth Night" eine mitreißende, zeitgenössische musikalische Adaption von Shakespeares klassisch-romantischer Komödie über Verwechslung und Selbstfindung.
"Twelfth Night" erzählt die Geschichte von Viola, einer jungen Heldin, die an die Ufer Illyriens geworfen wird, sich als Mann verkleidet, einer Gräfin den Hof machen soll und sich in einen Herzog verliebt. Während sie dieses seltsame und wunderbare neue Land durchquert, findet sie dabei ihr wahres Selbst und ihre wahre Liebe. Mit einer originellen Jazz-Funk-Partitur von Taub, einer Besetzung in flexibler Größe und einer Dauer von 90 Minuten ist Twelfth Night für alle Zielgruppen und Gruppen geeignet. Text Concord Theatricals |
Songs |
Musikalische Nummern
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Play On
Word on the Street I Tell Her If You Were My Beloved If You Were My Beloved (Reprise) Viola's Soliloquy You're the Worst Is This Not Love? Count Malvolio I Am She Word on the Street II Count Malvolio (Reprise) What Kind of Man Are You Gonna Be? Viola Soliloquy (Reprise) Greatness Sebastian's Soliloquy Word on the Street III Viola's Soliloquy (2nd Reprise) Tell Her (Reprise) I Am She (Reprise) Malvolio's Exit Is This Not Love? (Reprise) Eyes of Another |
Presse-stimmen |
Ben Brantely,
The New York Times 31. Juli 2018 |
"The greatest privilege of being part of the theater, after all, is that you get to choose your reality.
And what a sweet alternative reality it is, as summoned by Mr. Kwei-Armah and Oskar Eustis, the directors, and Ms. Taub, who wrote the show’s merry and varied songs and also appears as Feste the clown. For what they and their team have conjured is a Platonic ideal of the crazy salad that is New York City in the silly season. [...] The sprint of a musical that follows is remarkably true to its source material, not only in plot but also in moral content. Ms. Taub and Mr. Kwei-Armah (the recently anointed artistic director of the Young Vic Theater in London) have extended the original play’s consideration of the ambiguities of identity to address an age in which the divisions between sexes and classes paradoxically feel both more porous and unbridgeable than ever. [...] Much of Shakespeare’s spoken language is retained, but Ms. Taub’s songs are in different musical vernaculars — R&B ballads, plaintive guitar-based folk numbers and even jaunty music-hall turns. (Lorin Latarro did the spirited, something-for-everyone choreography.) Irresistibly tuneful, they also slyly illuminate the play’s investigations into love, cruelty and, above all, the mutable nature of self. [...] The show’s concluding, celebratory song asks us to 'see through the eyes of another, hear through the ears of somebody else.' That’s when you realize that while it may be exasperated love that has propelled the plot of 'Twelfth Night,' it’s empathy that makes this production feel like such a blessing. Seeing through the eyes of another is what theater — and all art — allows and demands. That’s the real magic at work here, and you do your best to hold on to it, as you proceed out of the park and into a city where the real 'rain it raineth everyday' and is likely to chill you to the bone." |
Presse-stimmen |
Alison Adato
Entertainment Weekly 31. Juli 2018 |
"Even before the show starts at The Public Theater’s production of 'Twelfth Night, Or What You Will', the stage is abuzz, both with performers — jugglers, hula hoopers, free-range kids [...]
Should you arrive in a mood that doesn’t move you from your seat to mingle with the residents of Shakespeare’s fictional Illyria, you may find yourself, at the urging of the youngest Illyrians, taking part in 'The Wave.' Just try to resist. It’s a fitting prelude to this kitchen-sink telling of the gender-crossed, mistaken-identity comedy that joyfully mixes theater amateurs with pros and references everything from New Orleans jazz funerals to Beyoncé hits to 'Fortnite' dances. Co-directed by Kwame Kwei-Armah and Oskar Eustis (artistic directors, respectively, of London’s Young Vic and New York’s Public Theater), this 'Twelfth Night' is a 90-minute sprint that tosses out a lot of 17th-century verse in favor of contemporary lyrics. At times that does give the impression of two shows sewn, artfully if not seamlessly, together: one a jaunt through Shakespeare’s text, the other a musical retelling. The upbeat, jazzy songs are by Shaina Taub: She conceived of the show with Kwei-Armah, wrote the words and music, and now performs, both with the band and as the wise jester, Feste. Her numbers can be delightfully silly [...] But the songs, picking up the play’s themes, also turn unexpectedly insightful. [...] delights with a steady insistence and overwhelms with a tidal wave of enthusiasm. Resistance? Futile. Let it wash over you." |