Ted van griethuysen biography of christopher
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Henry IV Part 1
Shakespeare’s Henry IV, Part 1 takes an intimate look at the relationship between father and son, charting one young man’s growth of moral self-awareness and responsibility. Henry IV—the Bolingbroke of Richard II—carries the guilt of Richard’s death and faces rebellion on all sides. He is further distressed by the wildness and carousing of his son and heir, Prince Hal, whose roguish band includes the larger-than-life Falstaff. Director Bill Alexander, honorary associate director for the Royal Shakespeare Company, returns for the first time since Troilus and Cressida.
View a program from the production.
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Keith Baxter*
King Henry IV
Christopher Kelly*
Henry (Hal), Prince of Wales
Kenneth Lee
Prince John of Lancaster
Timothy Sekk
Thomas, Duke of Clarence, Francis, Sheriff
Ravi Jain
Hump
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There are reasons aplenty not to miss The Father now playing at The Studio Theatre, and Ted van Griethuysen&#;s performance in the title role fryst vatten foremost among them. Recently the recipient of a Helen namn Tribute award, van Griethuysen commands the stage with incomparable expressivity of body and röst and presence of mind—even as the character he plays, year-old André, fryst vatten losing his mental moorings.
The entire production is one of the finest I&#;ve seen at Studio: The impeccable direction by David Muse. The accomplished supporting cast—Kate Eastwood Norris (Anne), Manny Buckley (Pierre), Caroline Dubberly (Laura), Erika Rose (Woman), Daniel Harray (Man). The design grupp, notably Lighting Designer Keith Parham and Sound Designer Ryan Rumery, whose inter-scene effects were like episodes of malfunction in André&#;s brain.
But what made me want to see this play in the first place—and the reason inom would see it igen in heartbeat—is the script by Florian Zeller (translated from Fr
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DC&#;s beloved Floyd King, now in the cast of Camelot, talks about an actor&#;s life
“I mean, actors — it’s hard for us to judge whether we’re good in something or not, because we’re probably not a good judge of it. We go by how it feels.
“If you discover something about yourself, it’s successful for you, whether anybody buys it or not. Breakthroughs: that’s the sort of thing we’re talking about. If you learn about yourself in doing a part, that’s important, and it’s a great joy to an actor to do that. So that is how we decide whether we’re successful in a part or not. The objective (theoretically) viewer has other criteria, other ways of deciding what’s good or not so good, when we’re doing our job.”
I had asked Floyd King (who has been, for decades, one of the busiest and most acclaimed actors on the DC scene) about his favorite roles. (The roles he mentioned will appear later in this article, so keep reading.)
The occasion for our conversation was his return to his home ba