A play is as good as its writing and acting. This is precisely what makes Albee and Lewis’ “The Goat, or Who is Sylvia?” a rare jewel. Yes, it is Edward Albee who wrote it, but it is Damian Lewis who owns it on stage.
“Her breath… her breath was… so sweet, warm, and…” – Martin
As much as I believe in live theater as the best art form ever, I also know, alas, due to geographical, financial and time constraints, only a limited number of people have access to a particular play staged at a particular place. Thus, I imagine, recording and streaming the plays for fans all over the world would certainly make theatre a more democratic art form and help young generations fall in love with it, too. National Theatre Live, a project initiated by the Royal National Theatre in London, broadcasts, via satellite, live performances of their productions to movie theaters and art centers around the world. I hope, with technology at hand, this becomes common practice sooner than later.
Now, having made my desperate statement about theater, I feel extremely lucky to have seen The Goat, a brilliantly written play turned into an acting feast in the hands of the ridiculously talented quartet of Damian Lewis, Sophie Okonedo, Jason Hughes and Archie Madekwe. JaniaJania has already written a fantastic review of the play here and, with a little help from my memory and the pictures I have been able to find online, I will now try my best to “stream” The Goat for you with a bit of commentary on the side. Hope you enjoy it. Continue reading “How I Have Fallen For “The Goat, or Who is Sylvia?”: A Review”
Theater is unique from books or film because it’s necessarily a communal experience. Actors are in the same space as the audience. The story is fleshed out “live”, with no possibility of rewinding or re-reading. We see their breath, we can nearly see their hearts beating up there on stage and they can hear us too, our laughter, our gasps, and, eventually, hopefully, our applause. All of this combines to make theater an experience like no other.
Like our consumption of most art forms, our venture into the theater is, for the most part, about finding some escape, some entertainment, and, at its most sublime, some window into the human condition. Lots of folks really don’t want art to do more than that, don’t demand any more from it or from themselves when consuming it. Edward Albee’s The Goat, or Who is Sylvia, alas, does do more. It’s a window into the human condition alright, but not necessarily one that is very pleasant to see or comfortable to have to think about. It’s a tough play, mostly because you feel pulled, in directions you never would’ve imagined being pulled. The central conceit is a marriage falling apart due to an affair. Not your run-of-the-mill infidelity story, though, as the “other woman” happens to be a goat. Continue reading “The Goat, or Who is Sylvia? – A review”
“I almost dare not ask this… but who is Sylvia?” -Ross
The Goat, or Who is Sylvia? has opened to rave reviews and BIG thanks go to the audience members, who happen to be our eyes and ears in the theatre, for sharing some wonderful moments online — like this fantastic curtain call on Instagram.
In earlier posts about The Goat here and here, we deliberately avoided from giving any spoilers. But now that the cat (or should I say the goat?) is out of the bag in the play’s reviews, in recent interviews Damian has given as well as in viewers’ posts all over social media, I would love to give my two cents about why I believe The Goat is more about us than about a goat and that it deals with deeper and more universal themes than some might think. Now, if you are planning to go see the play and you are not one for spoilers, STOP HERE. Otherwise, dive in! Continue reading “Why “The Goat” is More About Us Than About a Goat”
Damian Lewis has made a wonderful comeback to stage in Edward Albee’s late modern masterpiece The Goat or Who is Sylvia? at Theatre Royal Haymarket. Damian is headlining the play as Martin Gray and stars along the great Sophie Okonedo as Martin’s wife Stevie, Jason Hughes as Martin’s oldest and best friend Ross and the young rising star Archie Madekwe as Martin and Stevie’s son Billie. Tom Kirdahy Productions is producing and Ian Rickson, who was the artistic director of the Royal Court Theatre from 1998 to 2006, is directing the play. The previews started on March 24, and the play has had its Press Night – or Opening Night as we say for Broadway – last night! The play will have a strictly limited run until June 24.