Articles tagged with: Henry Godinez
‘Quixote: On the Conquest of Self’ recasts Cervantes for the young in heart (and years)
Review: In his patched-together “battle” garb, well into his middle years but lean, bright of eye and dauntless in his self-image, Henry Godinez looks the very portrait of that most storied of knights errant, Don Quixote de La Mancha. Godinez is the appealing star and narrator of an almost-one-man show with the intriguing title of “Quixote: On the Conquest of Self” – which turns out to be a theatrical excursion more curious than any of the ventures embarked upon by Cervantes’ noble lancer, windmill jousting included. ★★
‘2666’ at Goodman: Epic saga of lust, murder and other scholarly pursuits in old Mexico
Review: After five and a half hours spent watching the dramatic evolution of “2666,” the adaptation by Robert Falls and Seth Bockley of Roberto Bolaño’s sprawling novel at the Goodman Theatre, I could think only of that sublimely ironic lyric made famous by Peggy Lee: Is that all there is?This ambitious enterprise affords a goodly share of rewards along its meandering narrative as a sort of whodunit for intellectuals. But in the end, in its totality, “2666” as theater is a shaggy-dog story of St. Bernard proportions. ★★★
‘Water by the Spoonful’ at Court: Nearing abyss in grip of drug addiction, haunted conscience
Review: “Elliot: A Soldier’s Fugue,” the first play in Quiara Alegría Hudes’ trilogy about the moral and psychological distress of a Marine back from duty in Iraq, almost captured the Pulitzer Prize for drama. The trilogy’s second installment, “Water by the Spoonful,” won the Pulitzer, and the merits that pushed it over the top are evident in every nuance, impulse, collision and aspiration of the current production at Court Theatre. ★★★★★
Theater 2013-14: ‘The Mountaintop,’ Dr. King poised at mortal precipice, opens at Court
11th in a series of season previews: “It’s been a long while since I read a play and without hesitation said, ‘We have to do this,’” says Court Theatre artistic director Charles Newell about Katori Hall’s “The Mountaintop,” which imagines Martin Luther King’s last night on earth. King had given a speech that day in Memphis in which he famously touched on a premonition that he would die soon. Hall’s play catches up with him a few hours later in his hotel room, a weary man who strikes up a conversation with the chamber maid.
