Sontag, Wilson Do Ibsen, 'Hamlet'
Sontag, Wilson Do Ibsen, 'Hamlet'
Under a new free-form tent called the Mistral Pavilion, a joint benefit was held Saturday for Jack Lenor Larsen's LongHouse Foundation and Robert Wilson's Watermill Center. LongHouse's magnificent gardens were the setting for the event.
The tent, designed by the late Bill Moss, brought to mind the silvery flamboyance of the Sydney, Australia, opera house, its billowing-sail shapes shading the audience from the glow of the setting sun.
It would be hard to imagine a more architecturally aesthetic, or horticulturally haute, setting, or, for that matter, a loftier literary program. As if to affix an intellectually correct seal of approval on the proceedings, there was Salman Rushdie listening intently in the second row.
In English And Italian
Scenes from Susan Sontag's adaptation of Henrik Ibsen's "The Lady From the Sea," a work-in-progress, were read, first in English by Ms. Sontag, then in Italian by the French actress Dominique Sanda, star of the Oscar-winning film "The Garden of the Finzi-Continis."
Next, Mr. Wilson performed his 1995 adaptation of Shakespeare's "Hamlet," a monologue he conceived and directs. He plays Hamlet mostly but occasionally also seems to be Gertrude; this was not entirely clear.
Before the performance Ms. Sontag said Ms. Sanda had chosen the Ibsen play, and that Mr. Wilson had told her to change it.
"I can't stand that kind of Ping-Pong," she said he said, meaning the back-and-forth of the realistic psychological conflicts that are the great Norwegian dramatist's hallmarks.
Mermaid Talk
What Ms. Sontag has wrought in the two short scenes she presented is a hauntingly simple, heartbreaking portrait of a woman in a landlocked marriage challenged by a call to freedom from a former lover in the sea, known only as the Foreigner.
In some sense a mermaid, a sort of Ondine in "A Doll's House," the heroine speaks a monologue in what Ms. Sontag described as "mermaid talk." As she read it in English, the emotional impact was palpable.
Then the gorgeous Ms. Sanda, in a simple ecru pants suit (Chanel?) and gold earrings, her hair pulled back severely, told us in a high little voice that she would be reading, not performing, the scenes, in Italian, as the play was to have its world premiere in Ferrara next spring.
Beautiful Theater
It would next go to French-speaking Switzerland, she said, where she would perform in her native language, and then, it is hoped, come to America.
Her performance voice, moving from gentle and sad to a full-throated, powerful, and almost brutal anger, even in Italian was mysteriously comprehensible and utterly moving, in one of the most beautifully controlled theatrical moments this reviewer has ever seen.
Ms. Sontag and Ms. Sanda perform miracles.
Another Matter
Mr. Wilson's "Hamlet" was quite another matter. Using vocal sounds ranging from a bellow to a whisper and passing through the bark, the groan, the squeak, the gargle, the giggle, and the shriek, he sounded more like a stand-up comic than a tragedian.
Dressed in black, he used various black and white props - a white dagger, a white cross; a black quill pen, a pair of black socks, and at one point even donned a black hood resembling the bags we see criminals wear on TV on the perp walk from the courtroom to the squad car.
He looked quite silly, and lacked their undeniable dramatic impact.
Nevertheless, despite the irritating solipsism of his performance, and perhaps more for distinguished past productions such as "Einstein on the Beach"and "The Life and Times of Sigmund Freud" than for this travesty, Mr. Wilson received a standing ovation.