Rudolf II
By Edward Einhorn
Directed by Henry Akona
Sex, science, and paranoia in 16th century Prague
ORIGINALLY PERFORMED:
March 2010
The Bohemian National Hall
321 East 73rd Street, New York City
A journey into the dark side of a tormented psyche in Rudolf II, an intimate drama of delusion, science and sexual experimentation.
In 1600, Rudolf II, the bisexual and bipolar Holy Roman Emperor, is obsessed with alchemy and astronomy; as well as his longtime mistress and his newest lover and valet, a converted Jew. His enthusiasms establish Prague as a center of artistic, scientific, and sexual investigation. As he notes with pride, “I have something more than soldiers. I have knowledge.” However, his underfunded army, combined with his constant mood swings and paranoia, threatens to destroy everything he’s tried to build.
Set completely in Rudolf’s bedroom, the increasingly reclusive Emperor confines himself in a suffocating atmosphere filled with court intrigue. Rudolf’s court was literally the stuff of legend, providing the basis for Goethe’s Faust and the original Golem. The play features several historical figures, including astronomer Tycho Brahe; Elizabeth Jane Weston, Latin poetess and daughter of the original Faust (Edward Kelley); and the spirit of Libuše, the prophetess who founded Prague.
CAST
Libuše: Adriana Disman
Tycho Brahe: Joe Gately*
Rumpf: Eric Oleson
Elizabeth Jane Weston: Shelley Ray*
Rudolf II: Timothy McCown Reynolds*
Katerina: Yvonne Roen*
Philip Lang: Jack Schaub
Pages: James Isaac, Romo Hallahan
Musicians: Katherine Boynton, Rosalynd Darling, Mike Hill, Parker Scott*. Phoebe Silva*, Sandy York*
* Member of Actors Equity Association
Graphic art by Clinton Corbett
PRODUCTION
Playwright: Edward Einhorn
Director: Henry Akona
Dramaturgy: Karen Lee Ott
Costume Designer: Carla Gant
Lighting Designer: Ian W. Hill
Stage Manager and Props Designer: Berit Johnson
Assistant Director: Tom Berger
Assistant Stage Manager: Lindsey Carter
Assistant Costume Designer: Candace Lawrence
Assistant Lighting Designer: Romo Hallahan
Part of New York Public Library for the Performing Arts’ festival, Performing Revolution in Central and Eastern Europe.
Graphic Design by Clinton Corbett
Reviews
“Timothy McCown Reynolds acquits himself well as the hapless Rudolf, Yvonne Roen is particularly human and moving as Rudolf’s mistress Katerina, and Shelley Ray gives a chilling performance as the bigoted, conniving poet Elizabeth. Moreover, musicians and chorus add ambience to the scene and the Grand Ballroom itself provides an impressive setting.
“Happily, Einhorn concludes his play with a positive view of Rudolf’s place in history. Though Rudolf’s lack of leadership led to disastrous wars, his tolerant views would usher in new enlightened thinking, a promise for a future age.”
— Irene Backalenick,
Madman, Monster, Mystic or Modern Man
“What I really found captivating about this play is the use of language. Through the play is set in 1600 Prague, the language is modern and Mr. Einhorn does a great job of conveying how each character felt about this demanding emperor.
“The directing by Henry Akona is superb and set as a theatre in the round. Also, adding small details add to the atmosphere: a group of singers who chant, the terrific color pallet, and the costumes. For a play set in only one spot, the audience never gets bored. There is so much action with very clear dialogue.
“The cast is great and I must say an outstanding tour deforce performance by Timothy McCown Reynolds.”
— Neal B.,
nealbinnyc
"Director Henry Akona could not have chosen a more palatial location to stage ... “Rudolf II” than the Grand Ballroom of the newly restored Bohemian National Hall .... With its high ceilings, new crown moldings, iron handrails and sparse, yet deliberate set design, accompanied by a live chorus and musical ensemble—the Grand Ballroom gives you a sense that you’re entering a royal palace.
"One of the many entertaining aspects of the play, besides the location, is playwright Edward Einhorn’s penchant for witty dialogue. .... These are the moments that make “Rudolf” the play as memorable as it is fun to watch. The costumes are exquisite and rarely do audiences have the chance to experience the detailing (from the turquoise table used for divination to the men’s slinky tights to the hooks and eyes on the women’s corsets) so closely. The play includes a life chorus and a 4-piece musical ensemble that includes a guitar, violin, flute, and clarinet. The overall production looks expensive and belies the $18 entrance fee. Live music; live singing, and live theatre all for under $20? You’d have to be “Habsburg mad” not to go see “Rudolf II.”