“…The piece is a puppet mash-up of Dante’s Inferno and real-life subway stories gathered by Ms. Healey and a half-dozen student volunteers at Queens College, where she is an assistant professor of costume and scenic design.
Plans call for Homeless Bob to guide the Commutrix — an earnest rider not unlike Ms. Healey — through the subway the way Virgil led Dante through the nine circles of hell, from Limbo to Betrayal. Along the route, they will be serenaded in Spanish by the Undead Mariachi Trio and watch beggars like Legless Joe bewail their afflictions to tug on the heartstrings and purse strings of weary commuters.
Depending on the scenes, to be written by Ms. Healey and several collaborating playwrights, Homeless Bob will be funny, friendly or furious. ‘I think of him as a modern-day New York Virgil, if Virgil was homeless in New York,’ Ms. Healey, 34, said. ‘He’s not as benevolent. He’s angry.'” [. . .] –David Gonzalez, The New York Times, September 17, 2010
Stephen Atkins, “Dante’s Inferno: Living Hell” (2010)
“Now in a third year of collaborating with Brisbane-based Zen Zen Zo Physical Theatre, Human Theatre director Stephen Atkins delves into another classic with the premiere physical theatre company of Australia. Dante’s Inferno: Living Hell takes the audience on a promenade theatre experience, walking in Dante’s footsteps and lighting up another sold-out ‘In The Raw’ season with the company.
The project was conceived, scripted and rehearsed through the collaborative efforts of nineteen performers, two music composers and three choreographers. Based on Atkins’ adaptation, the performers created scenarios and vignettes illustrating the strata of the Inferno. Dante pulled no punches in the original 13th century poem, writing it entirely in the vernacular Italian language (instead of Latin) and populating hell with the corrupt popes, politicians and merchants of his own time; subjecting them to ironic and satirical punishments. It was meant to be a poem for the people, not the learned few; a dark comedy with a poignant message.
In this adaptation, the audience is lead through hell by two entrepreneurial tour guides who offer a ‘walking tour of the underworld’ while up-selling the audience on merchandise. As the evening progresses, the tables turn and the audience must fend for itself, guided by a heavenly angel through the City of Dis. In the end, evil is contemplated through the lens of the modern, contemporary world, bringing hell closer to home. Dante’s Inferno: Living Hell played for two weeks in Brisbane’s historic Old Museum.” —Human Theater Collective (retrieved on August 23, 2010)
Contributed by Helena Miscioscia
Leslye Headland, “Bachelorette” (2010)
“…Bachelorette was the second in Ms. Headland’s series based on Dante’s seven deadly sins. The company has been presenting the plays in the order she has written them since she started in 2007 with Cinephilia, her lust play.
Bachelorette is about gluttony, which in Ms. Headland’s contemporary take is expressed through self-destructive addictions to alcohol, drugs, shopping, bad boyfriends and binge bulimia. With greed (Assistance), sloth (Surfer Girl), and wrath (Reverb) also under her belt, she is now completing Accidental Blonde, about envy.” [. . .] –Celia McGee, The New York Times, July 13, 2010
See Also: IAMA Theater Company, Los Angeles
Fort Lewis College Theater, “Dante’s Inferno” (2008)
“Written by Dante Alighieri.
Adapted for Stage by Desiree Henderson & Kurt Lancaster.
Directed by Kathryn Moller.
Winter 2008: Throughout history, poets and philosophers have struggled to define true love. In the Phaedrus, Socrates explains that love is not simply the act of being caught passionately by a beautiful body or face, but by the eternal form of beauty itself. In Shakespeare’s Romeo & Juliet, Romeo describes love as, “too rough, too rude, too boisterous, and it pricks like thorn.” And even today, pop stars, authors and actors struggle to define and relate this elusive emotion in a tangible way. Dante Alighieri embarked on a similar quest. In this contemporary stage adaptation of Dante’s Inferno, Dante journeys into the pits of hell searching for the beauty of love which touched him for only an instant. Each circle of hell reveals tragic, and sometimes violent exchanges between people who are damned to repeat their sins again and again.” —Fort Lewis Theatre
Contributed by Katherine Avery
Vladimir Kobekin, “Hamlet of the Danes, Russian Comedy” (2009)
“…Mr. Kobekin’s Hamlet of the Danes, Russian Comedy, is hardly a comedy, except perhaps — as the composer observed — as the word was used by the likes of Dante. Nor, apart from language, is it notably Russian. It is a brash re-telling of Shakespeare’s play in contemporary words” [. . .] –George Loomis, “Moscow’s Second Stage Revels in the Homegrown,” The New York Times, November 17, 2009
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