The actor Dakin Matthews won a special Drama Desk award in 2003 when he adapted both parts of Shakespeare’s King Henry IV into a single, albeit lengthy, version produced at Lincoln Center. His edit allowed regional theaters to present the histories of Henry IV; his son Prince Hal; and the roguish Falstaff in one production, lessening the expense of mounting two separate ones. The adaptation removes lesser characters, such as Mouldy and Rumour in part 2, and trims extended metaphors and a lot of obscure Elizabethan humor. But the famous scenes and lines remain—“I am not only witty in myself, but the cause of wit in other men,” “Uneasy lies the head that wears a crown,” “We have heard the chimes at midnight.”
What Happened?: The Michaels Abroad
It finally dawned on me that theater was back in New York City when I was once again in the presence of characters in a Richard Nelson play as they sliced bread, grated cheese, sipped wine, and had conversations that made you feel like an eavesdropper more than an audience member.
The Michaels
Like The Apple Family Plays and The Gabriels, Richard Nelson’s new play, The Michaels, focuses on a family in Rhinebeck, N.Y., a destination that has become for this playwright what Idaho is for the dramatist Samuel D. Hunter. In Rhinebeck, Nelson finds a microcosm of American life, although his primary structural models are clearly the plays of Anton Chekhov. Nelson has had a hand in translating three plays by the Russian master, and Chekhov’s influence is evident in the quotidian concerns of the earlier families as well as this one: it’s the first in a third cycle.