John Hadden (King Lear) and Ava Roy (Cordelia) at Hubbard Hall.

A Singer’s Notes 84: Time yaps at the heels of comedy. Tragedy marches inexorably on.

Time yaps at the heels of comedy. Tragedy marches inexorably on. In comedy the present turns immediately to the past, this is why the pace must be fast. Private Lives tries to talk about serious things rapidly. It does not stop and consider. The past is a repetition of the future, not the other way around. This is why the characters circle endlessly. You might call it the rhythm of life, or in a darker comedy, the dance of death. There is plenty of life left in Private Lives. Its relentless wit continues to charm. The couple who fight best seem to love best. Only fine actors can repeat themselves.  Shakespeare and Company’s production of Noel Coward’s play had the requisite energy. David Joseph, in particular, seemed inexhaustible, time yapping at his heels. Dana Harrison also commanded the speed and flavor of imperious time, sometimes by trying to slow it ever so slightly.

Macbeth at Hubbard Hall

A Singer’s Notes 68: Macbeth at Hubbard Hall

I wish I could like this production more. Clearly well-intentioned and sincerely played, it still did not touch the center of the fearsome verse. Betsy Holt as Lady Macbeth was eloquent, but did not convince me she would kill a baby. The charismatic Gino Costabile as Macbeth fell into shouting too often and not only in the last moments of the play. The witches just were not scary, with the exception of Myka Plunkett whose steady intensity showed the real way into the play.

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