Archive for the ‘Ciaran Hinds on stage’ Category.
Although Mr. Cumberbatch may be “too much in the sun”, patient readers can dig out some interesting comments out of the buzz surrounding the first performances of Hamlet.
Fortunately, Sherlock’s fame do not completely outshine “a cast that includes the always moving and intelligent Ciarán Hinds as Hamlet’s murdering uncle Claudius…”
“… a bold production to those who know Shakespeare’s play well” (The Stage), worth seeing if you’re lucky enough to grab a ticket.
Ciarán will play Governor Thomas Danforth in Broadway Revival of Arthur Miller’s Witch-Hunt Drama The Crucible.
Rehearsals will begin in January 2016 with a first preview currently scheduled for February 29 at a venue yet to be announced. It will open April 7 and continue through July 17.
From August 5 to October 31, Ciarán will play alongside Benedict Cumberbatch in William Shakespeare Hamlet at the Barbican Theatre, London.
As Claudius, Hamlet’s Machiavellian uncle, he finds a role where his talents for playing villains will most assuredly shine as bright as ever.
Unfortunately, due to Mr. Cumberbatch’s fans, the show is already sold out, but it will be broadcast live from the Barbican in London to cinemas around the world on Thursday 15 October 2015.
Thanks to Conor MCPherson bittersweet writing, one can’t help liking this menagerie of underachievers, even care about them.
Conor McPhersons wonderful new play.
SPELLBINDING AND GORGEOUS BY ONE OF THE TRUE POETS OF THEATER.
– Time Out New York
A captivating play!
JOLTING DRAMA WITH VISCERAL ENERGY.
The acting is FLAWLESS.
– The Hollywood Reporter
Dialogue that makes the story feel fully alive.
– NY Daily News
See how Ciarán gets into costume and character, and embarks on the nerve-racking nightly ritual of warming up, and transforming into Captain Jack Boyle at the National Theatre.
Conor McPherson’s The Night Alive is about “people who survive by the skin of their teeth”, Ciarán says about Conor McPherson’s new play.
“In great form”, “superb”, “utterly convincing”, he gives an outstanding performance as Tommy, a kind, moustachioed parasite, who tries to survive on dog biscuits in the junk-filled room he rents off his irascible uncle Maurice.
Ciarán and Tony winner Jim Norton (The Seafarer) will be reunited next summer at London’s Donmar Warehouse in Conor McPherson’s new play The Night Alive, which he will also direct. The Night Alive, which will begin performances June 13 prior to an official opening June 19 for a run through July 27, will also feature Caoilfhionn Dunne and Brian Gleeson.
Ciarán is to play Tommy, a not too bad man who’s hardly getting by, renting a rundown room in his uncle’s house and trying to keep his family at arm’s length. Then one day, with Aimee, who’s not had it easy herself, comes the hope they could make something more of their lives.
According to the press, McPherson’s new play “deftly mines the humanity to be found in the most unlikely of situations”.
Southern drama Cat on a Hot Tin Roof returning to Broadway on January 17, got so-so reviews that cast a slight shadow over our pleasure. Although the show is a commercial success, the intrusive sound effects set by director Rob Ashford (cap guns, the sound of crickets, musical crescendos, ringing telephones, chiming clocks, thunder crashes etc.) are targeted by most of the critics and the harsher ones lament Scarlett Johansson’s alleged “lack of vulnerability” and one-note delivery. Obviously, being sexy is not enough to tackle the demanding role of Maggie the Cat and the reviews show mixed feelings: Ben Brantley of the New York Times calls ScarJo “a stage actress of imposing presence and adventurous intelligence,” and says she has a strong sense of her character, while New York Daily News critic Joe Dziemianowicz writes that “Her voice is raspy and lacks vitality; it has the musicality of a foghorn. The power of the words gets lost in translation.”
Interestingly enough there are no such reservations over the performances delivered by her costars, especially Ciarán as Big Daddy: “Hinds gets the determination and frustration of Big Daddy, a crude man accustomed to buying or bullying his way out of any situation” (Hollywood Reporter), “Hinds blasts the bluster as the dying Big Daddy, and is much more contemporary than anyone else” (NY Daily News), “You won’t believe Hinds is Irish, so wonderfully does he capture a Southerner whose genteel facade dissolves” (Gulf News), “Hinds is admirably coarse and Debra Monk is touching as the much maligned Big Mama” (Blomberg.net).