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Standing Ovations during New York FestivalHA!HAmlet @ New York |
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Ha!Hamlet is in a class by itselfIf there's one thing no Festival will ever be without, it is the sub-genre I would call "Fucking With the Bard".##|n##And we've reviewed our share. But Markus Zohner Theater Compagnie's two hander Ha!Hamlet is in a class by itself. ##|n##Compressing but not reïnventing the story of the Prince of Denmark,##|n##Zohner and his colleague, Patrizia Barbuiani, entertain us with an##|n##extravagant physical interpretation that goes well beyond a point where##|n##Shakespeare would have feared to tread. ##|n## ##|n##Both are brilliant physical comedians who work together (sometimes##|n##silently, sometimes with abundant self-generated sound effects and##|n##sometimes with words -- in any language that seems handy, it seems)##|n##with the precision of a swiss clock. (They are from Lugano.) ##|n## ##|n##Without taking anything away from Barbuiani's fine work, Zohner is sensational: ##|n##seemingly in charge of every involuntary muscle in his body, whether it##|n##is the one controlling his eyeballs (which disappear when he plays The##|n##Ghost and appear frighteningly askew as Gertrude approaches death), the##|n##shape of his face or the configuration of the long fingers on his##|n##remarkably expressive hands. Their rendition of "Gonzago's Murder" and##|n##of the confusion of Rosencrantz and Guildenstern are by far my most##|n##memorable ever. ##|n## ##|n##This production included two things that are unusual at fringe: an intermission and a standing ovation.   
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Further Pressreviews concerning HA!HAmlet
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