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- Top Authors
- The Seattle Review of Books
- Navigation menu
- 7 Days: Sonny Mehta and the Knopf Conundrum
- Gigantic Purple Book of Stories
Log In. Toggle navigation MENU. All Stars Only All Recommendations. Picture book. Six-year-old Joy has a less-than-joyful attitude at Christmas due to her boisterous baby brother, Sam. This bright, brimming picture biography commemorates Tony Sarg, a brilliant, self-taught artist whose innovative helium balloons delighted legions of Macy's parade watchers from on.
A petulant brat brings Girl Power to a Neverland devoid of whimsy and charm in this unnecessary sequel to Peter Pan. Streaks of preciousness mar, or at least mark, an "origins" tale framed as a monumental struggle between the King of Nightmares and a Cossack bandit plainly destined for a later career bringing gifts to children on Christmas Eve. The latest entry in a Dutch series about a toddler named Kevin follows the little one as he gets ready for Christmas with his family.
Ricky is a cheerful young rabbit preparing for the Christmas holiday celebration in this sixth entry in a series originating in Holland and Belgium. BOY VS. And I took that to heart because your friends don't often tell the truth about your acting. I think what he means is that I've got a sort of acting voice which I can do at any time. When you start Lear the expectations are very high, because it's King Lear. And we are going to take this around the world. So there's a lot riding on this and it feels like a farewell tour. The old divas used to announce the farewell tour—your last chance to see them—and it feels a bit like that because I probably won't be playing a great part in Shakespeare again in these conditions.
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I'm two years from collapsing into old age and hitting With all this, this production seems beyond the play itself to be an event and that makes me more nervous. The other thing is the theatres we will play. You didn't have to project it or present it or display it. This theatre—and the large theatres we will be travelling to on the tour—is a bit of a worry because it encourages the actors to be epic, to share by going out, where in Lear it is so much better if you can share by bringing it in. But I'm increasingly confident that this period of preparation and the concern with which we are always analysing how it is going will pay off, but it's been very hard and we are getting there.
If this was Ian McKellen as Lear in film it would be easy because acting for film isn't as difficult. There aren't as many responsibilities for the actor. There are only cameras around not thousands of people and you don't have to tell the story in one go. But you mustn't tell people who are coming to see it that this Lear won't actually be at its best until November.
It's cooking. It's edible now but it's not quite right. The Economist : Are their personal reasons that compel an actor to take on Lear?
Must an actor bring his own issues and thoughts about mortality and ageing to the part? Ian McKellen: There are deep feelings in Lear and the journey he goes on is a complicated one and you have to delve into your own insanities and your own demons.
The Seattle Review of Books
Most of the play you are absolutely horrible to other people. Your ego is so immense, so narcissistic. Lear only sees the world in terms of his himself. He's not only invented these gods he's convinced everybody else that he can talk to them. How big an ego must you have to be to say that, to say that heaven is on your side. It's a big journey he goes through in three hours.
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Every scene will play itself but only if the actor is absolutely committed to whatever dreadful churning about is going on inside. Oh dear, I'm reminding myself how difficult it is. I was just about at the point where I felt I had it. Trevor Nunn is a very good director in these circumstances because he's very grounded, he's very confident and he's done it twice before.
He builds around the actors a structure which allows the story to be told very clearly. That's what everybody says about the production and that's a big compliment because there is a lot happening and the audience gets what is happening. It relieves the actors some of the duty of acting.
7 Days: Sonny Mehta and the Knopf Conundrum
The Economist: Some observers who have watched you become a Hollywood star might be surprised by your decision to return to the theatre, and not just live and work happily in Hollywood, especially as you reach an age where most men are retired. Ian McKellen: This is what I do. This is what I have been doing for a long time. Occasionally, and that's all it is, making a movie in Hollywood or occasionally being in a blockbuster, that's not my way of life.
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You see people in Hollywood trying to make blockbuster after blockbuster but it's not possible. There's some god up there saying "you will fail now". But I suppose that's true of us all. Anyway, I'm not being offered a constant stream of wonderful parts with wonderful directors that would keep me away from the theatre.
When they turn up I do them.
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But I'm not living full time in Hollywood and I don't think of myself as a film actor. Why would I not want to do what I have spent 40 or more odd years discovering how to do, which is to act in these extremely difficult plays by William Shakespeare, which are more rewarding in personal achievement.
But after I've done this it would be wonderful to take on another film part but there's not that many great parts for a man my age while there is a lot of wonderful actors my age vying for those parts. I've always liked doing different things. It all adds up to a wonderful mixture for me. Just recently I recorded a lot of Wordsworth to soon be released. It all adds up. The Economist: I suppose modern doctors might diagnose Lear as an Alzheimer's patient?
I used to think King Lear was an analysis of insanity but I don't really think it is. When Lear is supposed to be at his most insane he is actually understanding the world for the first time. But when he gets mad he sees the world very clearly indeed in a way he never has for his whole life.
The play is a little bit of a cheat—he doesn't go permanently mad, he goes mad and then he recovers in the space of three of four scenes. Well people do, don't they? They have breakdowns. He has a breakdown; he does not go permanently mad and terminally ill with insanity. He has a breakdown and he knows he's the better for it because he sees clearly in the end. The Economist: But the vision of the universe he comes to is so stark and troubling. Ian McKellen: Yes; Sylvester McCoy [the actor playing the fool] has done a lot of [Samuel] Beckett and he told me that he thought Beckett was a genius but now he realises he stole it all from King Lear.
Gigantic Purple Book of Stories
I will go on". Yes, Lear is disillusioned, but in a redemptive way. He discovers things that make him look back on his own behaviour and say 'I've been terrible'. Not that the world is terrible but I have been terrible. When he meets his daughter again what he does say? And he says "come to prison with me".
He's discovered all you need to get through life can be love; it can be enough just to have one person to whom you can say 'I love you'. He gets a certain serenity and then its taken away from him because Cordelia dies but then again he's ready for death.