Cries and Whispers OFF-BROADWAY REVIEWS

  • NY TIMES

  • NY MAG

  • BACKSTAGE

  • TM

  • NY POST

Opening Night:
October 26, 2011
Closing:
October 29, 2011

Theater: BAM Harvey Theater / 651 Fulton Street, New York, NY,

Synopsis: 

In a sterile grey room, an artist lies dying. Her video diaries flicker on screens, offering consoling images of an ersatz immortality as her estranged sisters hover about, removed. Not a word has been uttered and already director Ivo van Hove (Opening Night, 2008 Next Wave) has transported us to a collective soul bound by the most tenuous compassion. On a stage transfigured by grief, gripping performances from Dutch repertory company Toneelgroep Amsterdam drive this modern adaptation of Ingmar Bergman's unflinching 1972 film about the will to live and the astounding human capacity for empathy amid the debris of damaged life.

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  • NEW YORK TIMES REVIEW OF Cries and Whispers

    Sister Slips Away, Under Her Camera’s Gaze, in Update of Bergman

    Charles Isherwood

    October 26, 2011: The blood has been drained from Ingmar Bergman’s “Cries and Whispers” in Ivo van Hove’s clinical stage adaptation of the celebrated film, at the Brooklyn Academy of Music as part of the Next Wave Festival. The saturated reds that were a stylistic hallmark — and a symbolic one — of Bergman’s movie are nowhere to be seen in Mr. van Hove’s cooler, more diffuse examination of the agonies of a woman’s death and its impact on her two sisters and the devoted maid who attends her.

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  • NEW YORK MAGAZINE REVIEW OF Cries and Whispers

    Theater Review: Cries and Whispers, More Severe Than Ever, at BAM

    Scott Brown

    October 26, 2011: Feeling strangely hearty and unbruised? Let Ivo van Hove and the pugilist-dramatists of Amsterdam's Toneelgroep take care of that for you. For the next few days, Van Hove—best known stateside for his traumatized expressionist reclamations of Hedda Gabler, A Streetcar Named Desire, and last season's The Little Foxes—is presenting his vivisected version of that masterpiece of anomie, Ingmar Bergman's Cries and Whispers. It is not for the faint of heart, the weak of stomach, or the impatient-with-a-wordless-twenty-minute-burial-ritual-conducted-to-the-folk-melody-"I'll Fly Away"-on-infinite-loop. This is one of van Hove's more audience-unfriendly pieces (which is saying something), and it's more an analysis of its own stripped-down Lucite stylings than a full-blooded adaptation of Bergman's film.

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  • BACKSTAGE REVIEW OF Cries and Whispers

    NY Review: 'Cries and Whispers'

    David Sheward

    October 26, 2011: Putting one of the greatest films of all time on stage would appear to be an impossible challenge, and Dutch director Ivo van Hove is the just the man to take it up. The iconoclastic theater auteur has put his individual stamp on world classics by Ibsen, O'Neill, Williams, and Hellman at New York Theater Workshop, shattering the fourth wall of these representational plays by pushing the emotional subtext right to the top. His raw approach doesn't always work—the van Hove "Streetcar" was more of a frat party than a clash of wills between Blanche and Stanley—but his production of "Cries and Whispers," Ingmar Bergman's gut-wrenching 1972 film about death, faith, and family, is a brilliant theatricalization of a masterpiece from another medium.

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  • THEATERMANIA REVIEW OF Cries and Whispers

    Cries and Whispers

    Chris Kompanek

    October 26, 2011: Director Ivo Van Hove has often deconstructed classic works, such as Hedda Gabler and The Little Foxes, where the main characters are only hanging on to life -- if at all -- by a thread in the end. In Cries and Whispers, his devastating adaptation of Ingmar Bergman's 1972 film at BAM's Harvey Theater, Van Hove shows us this sort of desperation through a different prism.

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  • NEW YORK POST REVIEW OF Cries and Whispers

    Artsy ‘Cries’ lacks Bergman’s Swede stuff

    Elisabeth Vincentelli

    October 27, 2011: Imagine the exact opposite of a joy ride: That would be “Cries and Whispers,” the stage adaptation of Ingmar Bergman’s 1972 movie.

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