The fault, dear Brutus, Act III: Makoto Hirano interviews Lantern AD Charles McMahon about “Super Racist” Julius Caesar
Makoto Hirano asks Lantern artistic director Charles McMahon some tough questions about the “Super Racist” Julius Caesar. And a clearly contrite McMahon does his best to explain the process that lead to the company’s misguided choices.
You may have seen the Lantern Theater Company’s JULIUS CAESAR, which recast Shakespeare’s political tragedy in Feudal Japan. You may also have seen the open letter that local playwright and performer Makoto Hirano hand-delivered to The Lantern on “How to Stage Your Show Without Being Super Racist,” which he signed “Makoto Hirano, Dance-theatre artist, actual Japanese person, and actual Samurai descendent,” reposted on Phindie with Hirano’s consent.
On the Universality of Shakespeare: Roman History through a Shoji Screen in the Lantern’s THE TRAGEDY OF JULIUS CAESAR
Director Charles McMahon, founding artistic director of the Lantern Theater Company, asserts that all of Shakespeare’s plays, whenever or wherever they’re set, are in fact observations about contemporary England. By shifting the locales to places outside of his homeland.
Dylan Thomas’s poem A CHILD’S CHRISTMAS IN WALES runs the risk of becoming sticky-sweet with nostalgia, and it is director Sebastienne Mundheim’s idiosyncratic vision, and the spot-on instincts of her actors, which…
Lantern Theater Company’s world premiere adaptation of A CHILD’S CHRISTMAS IN WALES by Charles McMahon and Sebastienne Mundheim, the inventive “interdisciplinary performance-maker” who designed the production and also directs, captures all the warmth, nostalgia, and childlike wonder of the original, employing live actors, puppets, miniature houses, plastic-bag clouds, and exhilarating snow flurries to transform Thomas’s descriptive language and idealized memories into an enchanting theatrical vision.