'I think, in some ways, if Shakespeare was widely understood to be as radical as I think he is, he could be silenced.'
Hamlet
STILLWELL: Is Shakespeare a vehicle that allows for these kinds of transformations—for a woman to play a man, or other changes of that nature—in a way that other texts or plays don’t? Maybe in part because there’s such canonicity to the work. FARBER: I think we become quite precious about what we think honors the past. But if you look at what Shakespeare was doing, there was nothing specifically Elizabethan about it. I feel like attempting to recreate that then, in a strange way, almost betrays the roots of the work. It’s like if in 400 years someone was emulating [Quentin] Tarantino and sticking with a strange devotional detail to the specificities, rather than the nerve that he was trying to touch.
For me as a young person in South Africa, I just needed time in the darkness of the auditorium to have an encounter with myself, not with the cleverness of something. Really, all I always want from theater is a reckoning with myself. I’m always just trying to curate a public space in which for some, that might be possible.FARBER: I know from my own process with grief, when I’ve lost people very, very close to me, that there’s a way that that light refracts into a series of deep insights.
STILLWELL: What kind of encounter would you ideally like your audience to have with themselves when they’re watching this production?
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