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Henry IV reverberates mightily with the cost of our political, ethical, and social choices. As history, it turns on the crisis of legitimacy caused by Henry IVs seizure of the crown; but as drama, it is enacted with equal force and consequence in the more intimate realms of family and friendship. In both these realmsand in Shakespeare, as in lifeeven just decisions often beget violent or painful ends. To be loyal in one directionto ones destiny, say, or to the past, or to the responsibilities of adult lifeoften means to be traitorous in another. The price of successionof kingship and fatherhood; the price of betrayal, rejection, and rebellion is in powerful evidence on the Lincoln Center Theater stage this season in Dakin Matthewss bold adaptation of Henry IV.
The award-winning novelist and short-story writer Richard Bausch composed an original poem for this issue, a celebration of Falstaffian exuberance and appetite, an ode to the coarse and careless spirit of youth, and to the world that is lost with Falstaffs banishment. The novelist, essayist, and New Yorker writer Donald Antrim explores the essential betrayal that lies at the heart of Henry IV, and the losses, both inflicted and survived, that initiate Prince Hals kingship. John Guare discusses Dakin Matthewss adaptation of Henry IV with its director, Jack OBrien, who brings Shakespeares rendering of history into a distinctly human scale, alighting on themes of transcendence and rebellion. Weve included a passage from Geoffrey Wolffs acclaimed memoir The Duke of Deception, a stirring reflection on fathers and sons. The novelist and scholar Marilynne Robinson contributes an intriguing piece on dynastic power. Lincoln Center Theater Review Executive Editor and Dramaturg Anne Cattaneo re-creates the historical and sociological context in which the two parts of Henry IV were first conceived and performed. And weve reprinted an excerpt from The Princes Dog, W.H. Audens timeless essay on Henry IV, which offers a provocative consideration of loyalty, monarchy, and self-revelation.
The Editors
C O V E R A R T I S T A L L E N C R A W F O R D
While studying to become marine biologists, Allen and Susan Crawford launched Plankton Art Company to broaden the scope of their work, which now includes painting, illustration, graphic design, typeface design, assemblage, animation, writing, and video/ performance art. They recently completed a seven-month, 400-illustration ocean-life-identification key project at the American Museum of Natural History. The exhibit will remain in place for the next thirty years.
Allens typeface Apogee was exhibited at the Cooper-Hewitts Mixing Messages show in 1996, and has been used in print, |
advertising, and television worldwide. The couples work has won many awards and appeared in numerous design publications.
Allen and Susan have cultivated a large roster of clients for their design, illustration, and animation work. Planktons clients include Newsweek, National Geographic, Audubon Magazine, YM, The Washington Post, Hasbro, Chronicle Books, Crayola, Disney, the American Museum of Natural History, Ride Snowboards, Scholastic, Mambo, and the band Phish.
Allen is also a contributing writer for the Philadelphia Independent.
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