In Review: The Force of Habit
Reviewed by Gregary Racz
Kudos to all involved in introducing English-language audiences to Guillén de Castro’s overlooked play and in salvaging it, thus, from the limbo of unmerited oblivion.
El Muerto Lives Again: Two Translations from the Spanish Golden Age
By Francisco Bernardo de Quirós
Translated by Ben Gunter, Kerry Wilks, and Samuel (Chip) Worthington
I’ll be as still as a dead man. Marta, tell me, God’s truth, do you know what killed me?
A Fiery Young Man: Or, an Incendiary Lover
By Enriqué Zumel
Translated by Christopher Kidder-Mostrom
Through that terrible crone’s interfering,
I move on from this place empty-handed.
From your hands we’d like to be hearing
Applause as the room you are clearing,
If pleased you “A Fiery Young Man” did.
When Five Years Pass (Legend of Time)
By Federico García Lorca
Translated by Luigi Salerni
I don’t think it will occur to the other woman or the lady Secretary to come around here again when five years pass, but if they should come…
Researching and Directing Guillén de Castro’s The Force of Habit
By Sara Freeman
This article tells the tale of several pieces of scholarship that had a deep impact upon our show, in the spirit of demonstrating the richness theatre history and historiography incorporate into a show process.
Quijóteres: The Ingenious Puppet Don Quijote de la Mancha
Written, translated and adapted by Jason Yancey
In true Cervantine fashion of overlapping and blurred frames, this warning to maintain a safe distance from the theatre appears to have spilled off the page and into real life.
Policy
By Antonio Muñoz de Mesa
Translated by Phyllis Zatlin
Can we go over the policy?
Review: New Plays from Spain. Edited by Frank Hentschker
Reviewed by Iride Lamartina-Lens
New Plays from Spain: Eight Works by Seven Playwrights is a living testament to the continuing powerful and influential legacy of today’s theater in Spain.
Empty Bottles
By Oscar Sanz Cabrera
Translated by Matthew Ward
The play is translated into what I would call a ‘rough and tough’ London English, which I felt was the closest equivalent to the colourful language and ribald humour of the Barcelona residents that make up the cast of Oscar’s characters.
The Mercurian 