Zimmerman sticks close to the originals–strips them down, even–and when she fleshes them out it’s with, well, more of the same. This isn’t one of those Grimm adaptations that fleshes out the tale with new incident and dialogue. The rest is gesture, movement, and narration.Īnd repetition. There are a few chairs, a few gowns, a few handsome, imaginative crowns for the princes and princesses. Thrift-shop lamps carve out zones of light and dark on the huge stage. The production is minimalist and inventive.
Lookingglass Theatre’s reputation is for a highly physical kind of ensemble work, and The Secret in the Wings is no exception. What’s the alternative?Ī fascinating answer is on view at Lookingglass Theatre, where Mary Zimmerman is directing The Secret in the Wings, her own adaptation of four traditional fairy tales. It seems inevitable: commit yourself to the idea of a story presented by actors and you’re committed to the notion of character. You get Errol Flynn, or Disney, or Camelot. Translate those same stories to the screen or stage, and the feel is lost. Written down, fairy tales, medieval romances, traditional narratives of all sorts have the same feel–flattened, opaque, and almost indecently direct. But that seamless link of incident and inner life–that has nothing to do with them.Īt least not on the printed page. They all have traits they all wear a human face.
Neither is Robin Hood or Cinderella or even King Arthur before Tennyson got his hands on him. Oedipus isn’t a character in that modern sense. Which isn’t to say we haven’t seen it broken time and time again.
Secret of the wings cast series#
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