Theatre/Venue: Joseph Papp Public Theatre/Newman Theatre
City, State: New York, NY
Month(s), Year: November 23, 1992 - January 3, 1993Director: JoAnne Akalaitis
Designers: Marina Draghici (set), Gabirel Berry (costumes)
Because of the nonlinear style and the focus on an irrational antihero, the play is open to free-handed interpretation. In search of "Woyzeck," Ms. Akalaitis uses alternate scenes and extracts from early drafts of the play, filtering Henry J. Schmidt's translation through her fervid theatrical imagination. The difficulty this director has had in dealing with Shakespeare is not in evidence in her treatment of Buchner. - Mel Gussow
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Producing Organization: Clarence Brown Theatre (University of Tennessee)Theatre/Venue: Carousel Theatre
City, State: Knoxville, TN
Month(s), Year: Oct. 7-24, 2010
Designers: Christopher Pickart (Set Design), Kenton Yeager (Lighting Design)
The set and lighting are perfect for this play. Very few props are used, making the setting appear barren and impoverished. In a similar fashion, the lighting is simple but artistically done. In one dramatic scene, Marie and Woyzeck stand at opposite ends of the stage. They are each cast in spotlights. The mood is tense and somber. The circus scene is perhaps the best example of the lighting effects. As the mood transitions from tense to jovial, the lights change from blue side lights to white overhead lights. Woyzeck and Marie visibly become happier. The entire atmosphere is changed with simple, yet artistic, lighting. The performers and set designers certainly help to make Woyzeck a great performance, but it doesn’t hurt that the play is also well written and translated. - David Barnett
http://utdailybeacon.com/entertainment/2010/oct/11/woyzeck-rendition-captivates-audiences/
Brilliantly shaped by director John Sipes, whose conception of an ending to Buchner's unfinished theatrical journey is more than worth one's time and cost of admission, there is not a false step in the entire production.
Set on Christopher Pickart's starkly brutal, linear stage that becomes a kind of character in the play, the social structure of "Woyzseck" is sharply delineated by costume designer Marianne Custer's frank demarcation of dirt-drab clothing for Woyzseck and the rest of the underclass, while those on the ruling rungs above them appear in full color.
Brilliantly shaped by director John Sipes, whose conception of an ending to Buchner's unfinished theatrical journey is more than worth one's time and cost of admission, there is not a false step in the entire production.
Set on Christopher Pickart's starkly brutal, linear stage that becomes a kind of character in the play, the social structure of "Woyzseck" is sharply delineated by costume designer Marianne Custer's frank demarcation of dirt-drab clothing for Woyzseck and the rest of the underclass, while those on the ruling rungs above them appear in full color.
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Producing Organization: Upstream Theatre
Theatre/Venue: Not Specified
City, State: St. Louis, MO
Designers: Michele Siler (Costume Designer), Steve Carmichael (Lighting Designer)
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Producing Organization: California Institute of the Arts
Theatre/Venue: Butler Building 2
City, State: Valencia, CA
Month(s), Year: 2006
Designers: Jeanette Yew (lighting), Katie Midlam (costume)
http://www.portfolio.theatercalarts.com/torrybend/set+design/woyzeck/
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Producing Organization: Rough Magic SEEDS
Theatre/Venue: S.S. Michael & John, Dublin City, State: Temple Bar, Dublin 8
Month(s), Year:
Designers: Sinead Wallace (lighting), Laura Howe (costume)
...we are moved to pity by the contrast of emotions he elicits through presenting tragedy in cabaret style. It is a brave but in this instance very effective step as juxtaposing tragedy against an opposite background could so easily result in farce. But, not here. This is a highly imaginative, clever, very sexy production of a play that can be anything but. - Patsy McGarry
http://matttorney.com/Woyzeck_Review.html
Director Matt Torney sets the play in its own era, but creates a Brechtian-like artificiality by overlaying it with a cabaret atmosphere...
Torney has also set himself a risky experiment, and it is hard not to wonder if he will succeed in merging the production's stylised nature with the tragic realism of the play itself. But if this director's voice is strong, it is also careful, and Torney knows when to pull back... - Rachel Andrews
http://www.matttorney.com/Woyzeck_review_2.html...we are moved to pity by the contrast of emotions he elicits through presenting tragedy in cabaret style. It is a brave but in this instance very effective step as juxtaposing tragedy against an opposite background could so easily result in farce. But, not here. This is a highly imaginative, clever, very sexy production of a play that can be anything but. - Patsy McGarry
http://matttorney.com/Woyzeck_Review.html
Director Matt Torney sets the play in its own era, but creates a Brechtian-like artificiality by overlaying it with a cabaret atmosphere...
Torney has also set himself a risky experiment, and it is hard not to wonder if he will succeed in merging the production's stylised nature with the tragic realism of the play itself. But if this director's voice is strong, it is also careful, and Torney knows when to pull back... - Rachel Andrews
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Producing Organization: Jim Henson Foundation/Handspring Puppet Company of South Africa
Theatre/Venue: Joseph Papp Public TheatreCity, State: New York, NY
Month(s), Year:
Designers: William Kent (director & production designer)
In his latest incarnation, Woyzeck has found himself a new skin (black), a new homeland (South Africa during apartheid), a new job (servant) and, perhaps most fitting of all for a creature so bedeviled by society, a new medium of expression: he is now a puppet. - Lawrence Van Gelder
http://www.nytimes.com/1994/09/08/arts/theater-review-woyzeck-highveld-woyzeck-puppet-still-yanked-around-life.html
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Producing Organization: A Vesturport Theater of Iceland and Reykjavik City Theater production
Theatre/Venue: Brooklyn Academy of Music, Howard Gilman Opera House
City, State: Brooklyn, NYMonth(s), Year: September-December 2008
Designers: Borkur Jonsson (set), Filippia Elisdottir (costumes)
Helmer Gisli Orn Gardarsson has hit on something highly clever here: some elderly, idea-rich dramas go down more smoothly when presented in circus form. - Sam Theilman
http://www.variety.com/review/VE1117938729?refCatId=33
...it’s hard to fathom what attracted these artists to Büchner’s deeply pessimistic play, since they so blithely disregard both its letter and its spirit. - Charles Isherwood
http://theater.nytimes.com/2008/10/17/theater/reviews/17woyz.html
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