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Charles McNulty: Hoping the pandemic ends a theatrical tradition

Charles McNulty
Los Angeles Times
The intermission was already on shaky ground before the pandemic. The convention of the two-act play, interrupted by 15 minutes of recess, was starting to feel like a relic of the theatergoing past.
After lockdown, the interval s days seem numbered. The vaccines appear to be miraculous, but they won t erase all our qualms about indoor public gatherings. It s hard to imagine even the most die-hard spectators wanting to spend more time than necessary crowding into lobbies between acts for overpriced wine and snacks or waiting in bathroom lines in unsavory cramped spaces.
Broadway, flying a retrograde flag, is dragging out its warhorses ( The Phantom of the Opera, Jersey Boys ), hoping to convince at least its former customers that nothing has changed. But this illusion will be hard to sustain as playwrights gravitate toward more compact forms and directors look to condense classics as artfully as the National Theatre s ....

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Commentary: Cut the intermission, please. Why I hope the pandemic ends a theatrical tradition

Commentary: Cut the intermission, please. Why I hope the pandemic ends a theatrical tradition
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Yet another reason to cut intermission in theater: COVID-19

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The intermission was already on shaky ground before the pandemic. The convention of the two-act play, interrupted by 15 minutes of recess, was starting to feel like a relic of the theatergoing past.
After lockdown, the interval’s days seem numbered. The vaccines appear to be miraculous, but they won’t erase all our qualms about indoor public gatherings. It’s hard to imagine even the most die-hard spectators wanting to spend more time than necessary crowding into lobbies between acts for overpriced wine and snacks or waiting in bathroom lines in unsavory cramped spaces.
Broadway, flying a retrograde flag, is dragging out its warhorses (“The Phantom of the Opera,” “Jersey Boys”), hoping to convince at least its former customers that nothing has changed. But this illusion will be hard to sustain as playwrights gravitate toward more compact forms and directors look to condense classics as artfully as the National Theatre’s “Romeo & Juliet” film t ....

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Josh O'Connor, Lupita N'ongo lead riffs on 'Romeo and Juliet'

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William Shakespeare’s “Romeo and Juliet” has maintained its centuries-long hold on the popular imagination for an obvious reason. Love particularly of the idealized youthful variety is never out of style.
But reencountering the play in new formats “Romeo y Julieta,” the Public Theater’s bilingual podcast version (available on demand) and the National Theatre’s original film “Romeo & Juliet” (airing on PBS’ Great Performances April 23) I see more clearly that romance is only half the answer.
The other half has to do with societal division. When Romeo and Juliet fall in love, they transgress not because they are an ill-suited match but because their families are sworn enemies. The context of their headlong infatuation is a blood feud that rages unabated in Verona. ....

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Josh O'Connor and Jessie Buckley on 'terrifying prospect' of Romeo & Juliet

Josh O’Connor and Jessie Buckley on ‘terrifying prospect’ of Romeo & Juliet
Laura Harding, PA Deputy Entertainment Editor
1 April 2021, 2:10 pm
Josh O’Connor has described the “terrifying prospect” of starring in a new version of Romeo & Juliet filmed inside the National Theatre for television.
The Crown actor stars opposite Chernobyl actress Jessie Buckley for the production, which saw the stage spaces of the Lyttleton theatre temporarily transformed into a film studio for the first time to create a new telling of Shakespeare’s tragic romance.
The pair, who are old friends, were originally due to take on the roles for a stage version in the Olivier auditorium last summer, directed by Simon Godwin, but after theatres closed, the play, adapted by Emily Burns, was reconceived for the screen with a 90-minute running time. ....

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