Earlier in DeLorenzo’s career—particularly, he says, the Evidence Room days—he went through a “Tarantino period” when he was interested in “tough, nasty theater.” But, he says, “You reach a certain age and there’s a little bit of an eye roll—really, do they have to die? Does there have to be incest and murder? Isn’t there another way?—and also, what does this have to do with my life?” It is in this light that DeLorenzo sees Cymbeline. He feels Shakespeare is saying, “A comic resolution is a more profound ending than a tragic one.”Two thoughts: One, this echoes the recent Terry Teachout essay and subsequent discussion; and two, having seen Bart's exquisite productions of both Edward Bond's Saved and the noir adaptation No Orchids for Miss Blandish back in those early days, I think he's selling his youthful attraction to the dark side short. Still, I know exactly what he means about how tiring "shocking" theater can be (wild horses could not drag me to this or this, for instance). And though I've never seen a satisfying production of Cymbeline, I'd love to see what Bart and ANW does with it.
Sep 26, 2012
L.A.'s best stage director, Bart DeLorenzo, is profiled in LA Stage Times, in advance of his production of Cymbeline at A Noise Within:
Posted by Rob Weinert-Kendt at 5:25 PM