TR Warszawa


Grzegorz Jarzyna’s Nosferatu, after Bram Stoker’s Dracula from TR Warszawa and Teatr Narodowy to BAM

BAM celebrated Hallowe'en with a production of Nosferatu, Grzegorz Jarzyna's own adaptation of Bram Stoker's novel, Dracula, performed by his own TR Warszawa in a co-production with the Teatr Narodowy. I'm a particular admirer of Polish theater, but not of what I've seen of Pan Jarzyna's worka. When TR Warzawa's production of Shakespeare's Macbeth came to Brooklyn under the auspices of St. Ann's Warehouse, I came away with quite a negative impression, largely because I thought it arbitrary and self-indulgent. Shakespeare's words, which have been translated into Polish very ably more than once, can bring across his plays so powerfully, if we only hear them from that actors mouths, not through complex electronics and sound effects. Unlike Macbeth, Nosferatu, sporting the name Stoker's estate forced Prana-Film to adopt for F. R Murnau's classic film, presents itself as Jarzyna's own work, and for that reason, I'm not inclined to purism. The Irish playwright, critic, impresario, and theatrical manager created in Dracula a great novel with complex resonances which have inspired theater and cinema audiences for generations, and seems to go on spawning adaptations generation after generation, much as Shakespeare's plays did from the Restoration to the present day, not that the process doesn't continue today. However, we adhere more to observe the text today, however we might play with the rest of his creation. I came to BAM mainly curious about what the Polish slant on the Dracula story might be.

TR Warszawa: Grzegorz Jarzyna’s Macbeth 2008 by the Brooklyn Bridge

In preparing this review—more in that than in actually witnessing the performance—I had to remind myself that this is not the play which has come down to us as Shakespeare’s Scottish Play with some conspicuous additions by Thomas Middleton, as well as some other cuts and adjustments. It is rather <i>Macbeth 2008,</i> Gzregorz Jarzyna’s adaptation of the play. What made this hard was that it resembled Shakespeare’s play in so many ways that I couldn’t help thinking about it and making comparisons. Jarzyna’s spectacle even includes several excerpts from the best-known speeches in the play, inserted into the crude, obscenity-ridden dialogue that Jarzyna has created in the style of contemporary Hollywood film, especially the work of his hero, Ridley Scott. If I had been able to attend the lecture Jarzyna gave at the Polish Cultural Center about a month before the much-publicized opening of his show, I’d have been better prepared, and perhaps more resistant to comparisons with the Jacobean play, so admirably presented by a company from the Chichester Festival barely a mile distant from its venue in the armpit of the Brooklyn Bridge. All Mr. Jarzyna’a lights, noise, and bodily fluids amounted to pretty feeble stuff in comparison with the all-too-familiar words of the old play. His purpose is to present the story of Macbeth as a nightmare, as if the play were not nightmarish enough in itself.On the other hand, it was great fun to be there in the Tobacco Warehouse, a brilliant arrangement, brilliantly executed by St. Ann’s Warehouse, which itself stands across the street.
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