As we work to expand our definition of classics beyond the work of white men, let’s not forget to look outside English-language drama as well.
Moving work from one language to another is an art unto itself, and adapting it for the stage only adds layers of challenge and meaning.
If we can’t move past our bias toward theatre made in the U.S. and ratified in New York, we might as well just build a wall.
A conversation about playmaking, ensemble acting, writing regimens—oh, and that Chekhov play they both adapted.
After 400-plus years, the approximate, half-understanding fog through which we hear much of the Bard’s language won’t do anymore.