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The NY Times prijst Angels

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Gisteren ging Angels in America in het prestigieuze Brooklyn Academy of Music in première en The NY Times schrijft vandaag: 'Yet this is in many ways the most penetrating “Angels” that I’ve seen. In cutting to the core of this big-canvas portrait of life and imminent death in the early years of the AIDS epidemic in New York, Mr. van Hove finds a universal heart that seems destined to beat, loudly and steadily, for as long as there is theater.'

De loftuigingen gaan verder: 'The ways those in multiple parts (Ms. Heebink in particular) signal their different roles by changing their gait and their posture is a wonder. And because they’re performing in Dutch, those portraying people from real life — like Cohn and his nemesis, Ethel Rosenberg (Ms. Heebink) — are less encumbered by the responsibilities of exact impersonation. Mr. Kesting’s mesmerizing Cohn has no vestige of political caricature; he’s a pugnacious, demonic life force, struggling to survive.

That force throbs in every one on stage, though. And like Mr. Bowie’s music, which is by turns harsh and caressing, their pain and terror and fragile hope are conveyed at different volumes that set our own nerves vibrating.

Mr. Kushner is such a virtuoso wordsmith that it may sound like heresy to say that at times I forgot to look at the projected English translations. Yet it says much about not just Mr. van Hove but about the emotional depth of Mr. Kushner’s play that somehow I believed that I understood — no, actually felt — every single thing that was said.' - NY Times, Ben Brantley

'It's a first-rate production of a masterpiece, one that reveals the play's clean, strong bones and pays honest tribute to its scope. And if you need more reason to see it: Go for the central trio of Roy, Prior and Louis. For those who saw Van Hove's Roman Tragedies, there is no greater treat than seeing these actors commanding BAM again. That production's Mark Antony turns into this one's Roy Cohn—still silver-tongued, still leonine, still letting power addle him. And that Coriolanus becomes this Louis—still arrogant, still violent, still lost. I can think of no deeper theatrical joy than seeing a repertory company reveling thus in its own virtuosity and history, proudly wearing the ghosts of old roles. And for those of us who have been lucky enough to see them in both roles, you'll see the halos of old tragedies hanging round these new ones.' - Time Out NY

'The Toneelgroep Amsterdam ensemble demonstrates the benefit of the European repertory theatre model – this group has been performing these characters since 2008 and have a deep intimacy with the parts rarely found on this side of the Atlantic. This allows van Hove to simply stage Kushner’s plays like open wounds.

There is something quite audacious about bringing a foreign production of Angels in America to Brooklyn, where so much of it is set, even if this version has Kushner’s blessing. But van Hove’s production is a sign his popularity isn’t due simply to audacity, but also to his skilled practice of a brand of stagecraft popular since Shakespeare: actors on an empty stage, performing with your imagination as a scene partner.' - The Globe and Mail

in de pers

NY Times - A Universal Heart, Thrumming With Fear, Love and Confusion. Ivo van Hove Brings ‘Angels in America’ to BAM - 24 okt 14
> naar de website

Time Out NY - Angels in America ***** - 24 okt 14
> naar de website

The Gobe and Mail - European director’s hot NYC shows draw Canadian fans - 24 okt 14
> naar de website

Huffington Post - First Nighter: Ivo van Hove's Strong Take on 'Angels in America' - 25 okt 14
> naar de website





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