EVERY ONCE IN A WHILE, the hubris and pretension of undergraduate student theater leads to something great. Such was the case at Wesleyan University in 1998, when a junior named Thomas Kail got bitten by the theater bug after his friend Anthony Veneziale asked him to perform in an improv version of the German dramatist Heiner Müller’s inscrutable postmodernist play Hamletmachine that, with two African American Ophelias and two white Hamlets, aimed to dissect Race in America. “It was the most ‘Wesleyan’ thing of all time,” Kail says now with a laugh.
هذه القصة مأخوذة من طبعة October 2019 من Vogue.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 8500 مجلة وصحيفة.
بالفعل مشترك ? تسجيل الدخول
هذه القصة مأخوذة من طبعة October 2019 من Vogue.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 8500 مجلة وصحيفة.
بالفعل مشترك? تسجيل الدخول
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