Monday, June 26, 2017

King Lear at the Guthrie in 2017

King Lear. Dir. Joseph Haj. Perf. Nathan Barlow, Thomas Brazzle, Shá Cage, Sun Mee Chomet, J. C. Cutler, and Nathaniel Fuller. Guthrie Theatre Company. Minneapolis. 11 February—2 April 2017.

What better day could there be to see a production of King Lear than April 1?

The only problem is that it was the penultimate day of the show's run, so I didn't feel much pressure to review the play right away.  Still, now that I'm able to catch up on some missed opportunities, I'd like to make a few notes on the show.

First, the most impressive part of the production—indeed, of any production I've seen at the Guthrie thus far—was the lighting. I don't always notice the lighting (which may be the point of a subtle lighting design), but this one was transcendent. The stage was also the largest I've seen—a huge expanse of what is usually backstage space was opened up, and the lighting filled it in a number of fascinating and fabulous ways. Transitions were masterful; shadows were dramatic and purposeful; colors matched moods exquisitely.

Next, the rest of the production, which was underwhelming in the extreme. Some people reported to me that it was the worst Shakespeare play they'd ever seen—but it wasn't as abysmal as that. All the same, it wasn't good. The acting from all parties lacked backbone. There was no verve. Most of the players had a distinct two-volume delivery: Audible and Shouting.

Haj made some interesting individual directorial decisions, but they didn't every coalesce into a whole. If any of these decisions had been built into themes, provided supporting decisions, or made integral to the characters, they would have done something to the play. As it was, they seemed like notes from a preliminary brainstorming session. "What if . . . ?" "How about having . . . ?" "Oh, we could . . ."

Let me give you a few examples.

For the blinding scene, Cornwall spooned out Gloucester's first eyeball and dropped it in a cocktail glass—I think it was a highball glass.

Say it with a Cockney accent, and you'll get the joke.

Not unexpectedly, it turned the blinding of Gloucester into a joke as well. There is admittedly a fine line between horror and humor in this scene in many productions, but it was an unworthy choice.

Next, after Cornwall was hurt by his servant, Regan took off her high-heeled shoe and poked out the other eye of Gloucester. With a stronger Regan, that might have been brilliant. Diana Rigg (for whom, q.v.) could have carried it off with the right mood of cool calculation. But this Regan had been giggly and shouty by turns, and there's no way it could have been anything but ridiculous.

The Fool in Lear disappears after Act III, scene vi. Any given production can provide an explanation for that disappearance or provide the explanation the text gives: None. Trevor's Nunn's production, for example, shows its Fool captured and hung by the soldiers of Lear's enemies.

In this production, Lear, in his madness, stabs the Fool during the trial scene, killing him.

That's an interesting choice. But the production does nothing with it. And nothing will come of nothing. Not only does the Fool's murder / homicide under insanity not make its way into the rest of the play, it barely registers in the scene itself! The text, of course, doesn't allow for reflection on the Fool's murder, but the production could have found a way to bring it back in—presenting Lear with a bloodstained fool's cap during his recovery, for example. As it is, it was a scattered, unconnected idea in a scattered, unconnected play.

The play at the Guthrie's website.

Friday, June 23, 2017

Book Note: Year of the King

Sher, Antony. Year of the King: An Actor's Diary and SketchbookLondon: Nick Hern, 2004.

I've had this book around for awhile, but I only got around to it recently. It's Antony Sher's account of his being offered the role of Richard III in the 1984 Royal Shakespeare Company production.

Actors and theatre lovers will find this fascinating. The thought processes, the planning, the drama within the drama, the errors in rehearsal, the terror of opening night—it's all here. And Sher was, by most accounts, brilliant in the role in this brilliant production.

I found the work to be a bit solipsistic, but it is a diary, after all. The author may be expected to be self-centered and a bit pedantic.

Here are a couple sample pages. They'll give you an idea of the sketches and the revelatory nature of the prose.






Does the second sample provide some nascent thoughts about the Ian McKellen production and later film?

I haven't been able to track down any video of Sher's Richard III, but YouTube has provided an audio recording of Act I, scene ii of the play:



Actors, I'm especially interested in knowing what you think. Is Sher's book an accurate account of what you go through when contemplating and executing a role?  Chris Gerson, is this the kind of thing that's been going through your mind as you prepare for the Great River Shakespeare Festival Richard On my way!?

Sher has also written on his playing Falstaff in Year of the Fat Knight. It will soon appear on my bookshelf, eventually to be read. 

Click below to purchase the book from amazon.com
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Thursday, June 22, 2017

Public Service Announcement: Do Not Attend the Great River Shakespeare Festival

Richard III. Dir. Doug Scholz-Carlson. Perf. Caroline Amos, Benjamin Boucvalt, Christopher Gerson, Alex Givens, Stephanie Lambourn, Katie LeSuer, Melissa Maxwell, Duncan McIntyre, Christopher Peltier, Silas Sellnow, Jason Michael Spelbring, Emma Bucknam, and Adeline Matthees. Great River Shakespeare Festival. Winona, Minnesota. 2017. 

Comedy of Errors. Dir. Melissa Rain Anderson. Perf. Alex Givens, Maya Jackson, Stephanie Lambourn, Katie LeSuer, Melissa Maxwell, Duncan McIntyre, Chris Mixon, Christopher Peltier, Silas Sellnow, Jason Michael Spelbring, and James Queen. Great River Shakespeare Festival. Winona, Minnesota. 2016. 

Normally, I would be the first to tell you to go to the Great River Shakespeare Festival. For example, look here . . . or here . . . or even here.

Not this year.

The extremely detrimental effects Shakespeare can have, especially on the youth of a community, has made it impossible for me to recommend the festival.

Indeed, I've created this Public Service Announcement that details the reasons a community should avoid Shakespeare. It's what Doug Scholz-Carlson, pictured above, would surely say in his saner moments.

Watch, learn, and avoid the Great River Shakespeare Festival.


Links:  The Great River Shakespeare Festival.

Note: In case the video above fails to embed properly, I'm attaching a blog-native version of the PSA here.


video

Wednesday, June 21, 2017

The Holy Grail of Shakespeare and Film

Untitled. N.d. N.p. N.d. N.m. N.p., n.d.

You're interested in Shakespeare and film. That's why you're here. And you've been frustrated in your search for something in the Shakespeare and film world—I know you have. And I want to know what it is.

What is the "Holy Grail" of Shakespeare and film for you? What is too expensive, too rare, or too obscure? What is now unobtainable, though it once was available?

I have two lists that spring to mind.

Things that don't exist (though we wish they did):
  • A film version of Orson Welles' 1937 production of Julius Caesar.
  • A full film of Peter Brook's 1970 stage production of Midsummer Night's Dream. A few clips do exist (for which, q.v.), but the whole thing was never filmed.
  • Orson Welles' so-called Voodoo Macbeth. There's actually a lot of Orson Welles that could go on this list . . . his lost Merchant of Venice, for example (some footage here) . . . but it would be great to have more of his 1936 Macbeth than we do.
Things that exist, once existed, or were once promised (but that are hard to track down):
  • Johnny Hamlet. I did manage to find a copy, but that was after years of searching, and it was very expensive. I've never seen another copy for sale. Read about it in this post.
  • A fully-restored Prospero's Books. I've been hearing rumors one way or another about a quality DVD (or even Blu-Ray!) release of this film, but it's yet to come. The DVDs that are out there are largely transferred from VHS tapes. For a film that explored so many different media possibilities, it's distressing that it is so hard to track down. In the meantime . . . 
  • Prince of the Himalayas. We've been waiting for a US release of this film since at least 2011.
  • DVD releases of all thirty-eight of the plays produced in different languages in London in 2012 in conjunction with the Olympics. I'd like every one on the list, but the list particularly includes . . .
  • Othello: The Remix. I saw this for a limited time when it was available for streaming on-line. But I know this would be a big seller—consider Hamilton for just a moment!  People would snap this up—so do yourself and us a favor and make a DVD available, please!
  • Te Tangata Whai-Rawa o Weniti (the Maori Merchant of Venice). I once had hope that I would be able to see this, but that hope is starting to wane. There are rumors of warehouses full of this DVD in New Zealand . . . but that export has been forbidden.
  • Charles Warren's Macbeth with Michael Jayston and Barbara Leigh Hunt. I've been told that this is the best Macbeth ever. Though it's an HBO production, it's hard to find.
  • Celestino Coronado’s 1984 or 1985 film of a stage production of Midsummer Night’s Dream by Lindsay Kemp and David Haughton. This may have been broadcast on television; copies are not to be found.
Those are some of my holy grails. What are yours? Tell us about them in the comments!

Note: If you came here looking for the Shakespearean subtitles to Monty Python's film, try this post instead.

Links: The Monty Python Film at IMDB.


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Tuesday, June 20, 2017

Shakespeare in Sherlock

"The Lying Detective." By Steven Moffat. Perf. Benedict Cumberbatch, Martin Freeman, and Una Stubbs. Dir. Nick Hurran. Sherlock. Season 4, episode 2. DVD. BBC Home Entertainment, 2017.

One of Sherlock Holmes' catchphrases is "The game's afoot."

But the fact that he's quoting Shakespeare is not always recognized. It appears in Henry V—at III.i.32 to be precise. Henry uses it to urge his army to a renewed attack on the town of Harfleur.

One of my favorite instances is (as long-term readers of Bardfilm will know) when Data from Star Trek quotes it while pretending to be Sherlock Holmes (for which, q.v.).

More recently, Sherlock—the one with Benedict Cumberbatch and Martin Freeman?—had its Sherlock Holmes deliver the phrase . . . but with a great deal of context—an edited-down version of "Once more unto the breech."

Without spoiling too much, Sherlock has gone a bit off his crumpet. His delivery of the speech is marked by mania (if not actual psychosis):

video

Thrilling, isn't it?

I mean the Shakespeare . . . but the Sherlock is pretty good, too.

In the episode immediately before that one ("The Six Thatchers"), there's a briefer reference to Shakespeare.  I provide it here as a bonus:

video

Bonus Video: A Brief Quotation from Macbeth in Season 4, episode 1.

Links: The Episode at IMDB.


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Bonus Image: The Game's Afoot

Monday, June 19, 2017

Book Note: Desdemona: A Play about a Handkerchief

Vogel, Paula. Desdemona: A Play about a Handkerchief. New York: Dramatists Play Service, 1994.

I came across this play only recently, but it's been around for a while.

It's a retelling of Othello with only three roles: Desdemona, Emilia, and Bianca.

It's also a retelling in which Desdemona has been unfaithful to Othello—and with a large number of men (though possibly not with Cassio). She has had affairs here and there, but she also has an arrangement with the prostitute Bianca to take her place occasionally without anyone being the wiser. By that means, she's also slept with Iago.

I don't know quite what to make of the play. Is Desdemona's "free love—exceptionally free love" approach to sex and marriage meant to empower her? Is this an attempt to avoid the quasi-virginal placement of Desdemona provided by many productions of Othello? Is this a humorous re-imagining of what Othello is afraid Desdemona actually is, as in "I had been happy, if the general camp, / Pioners and all, had tasted her sweet body, / So I had nothing known" (III.iii.397-99)? 

My own sense is that it's humorous, but it's also quite Desdemeaning. 

[Sorry.  I should have resisted.]

It does seem to be demeaning rather than empowering. I'll give you a quick sample from Scenes 9, 10, and 11. Scene 11 is the most clearly connected to Shakespeare's play: it's a reversal of IV.iii, with Desdemona taking on some of Emilia’s positions and vice versa:



The play is interesting, though crude at a number of points.

Can anyone out there help us better understand the play as a whole?

Note: Elizabeth R provided a link to this New York Times review of a production.  Thanks!

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Monday, June 12, 2017

Book Note: Thirteenth Night

Gordon, Alan. Thirteenth Night. New York: St. Martin's Press, 1999.

Thirteenth Night is the first book in the Fool's Guild Mysteries, of which there are currently eight. I'm not quite sure where I stumbled upon this, but I enjoyed it as much as—and possibly even more than—the Smythe and Shakespeare books (for the first of which, q.v.).

This book imagines something of a shadow government run by the fools of the world—Feste included. The plot takes place some years after Shakespeare's Twelfth Night ended. Feste has to head back to investigate a murder . . . committed, perchance, by the vengeful Malvolio.

The plot is intricate but not overwhelmingly complex, and it cleverly worked in a number of characters from Twelfth Night, seen after many years.

And, of course, there's always the possibility that Malvolio is behind all the trouble . . . but you'll have to read it yourself to find out if that's the case.

I will provide you with this sample from late in the book. The "calling card" planted in Feste's room suggests that Malvolio knows who he is and is threatening his life:


The other books in the series involve Feste, but only one—An Antic Disposition—seems to have a fairly-direct Shakespearean connection.

I can't wait to try it.




Bonus image: The way the first photocopy turned out.

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Wednesday, June 7, 2017

Book Note: Still Star-Crossed

Taub, Melinda. Still Star-Crossed. New York: Delacorte Press, 2013.

The new show on ABC called Still Star-Crossed is based on a novel of the same title by Melinda Taub.  I couldn't be around for the premire of the show, so I thought I'd try the novel first (which is generally my modus operandi in any case).

Readers of Bardfilm have heard me say that something "isn't my cup of tea" but that I could recognize its merits for the intended audience.

This novel just isn't my cup of tea.

[By the way, if Shakespeare Geek is to be trusted (and he generally is), the show will likewise not be my cup of tea.]

The setting is Shakespeare-y, and some of the dialogue tries to be Shakespeare-esque as well, but aside from a few flashbacks, we don't get much Romeo and Juliet or Romeo or Juliet. Nor is there much character development along the lines of the characters in Shakespeare's play.  Rosaline is our female lead; she and Benvolio utterly hate each other at the beginning of the novel (can you imagine what might happen by the end of the book?). But Rosaline, of course, never actually appears in Shakespeare's play, and this Benvolio isn't much like that Benvolio.

For those of you who may find this more like the tea you keep in cups, here are the opening two pages:





And here's a sample of the Shakespeare-ish style:


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Thursday, May 25, 2017

Dorothy L. Sayers and William J. Shakespeare

Sayers, Dorothy L. Have His Carcase. New York: HarperPaperbacks, 1993.
———. The Five Red Herrings. New York: HarperPaperbacks, 1993.

I've read and re-read a lot of Dorothy L. Sayers, from Whose Body? to Busman's Honeymoon, from her translation of The Divine Comedy (and its magnificent notes) to The Mind of the Maker and back again. And I've listened to all the Lord Peter Wimsey detective novels and stories (primarily as read by the magisterial Sir Ian Carmichael) innumerable times.

In the mysteries, the characters—and, yes, the author—integrate quotes and allusions from a wide range of authors . . . most notably (for me, at least), Shakespeare.

The quotes from and allusions to Shakespeare are as thick as autumn leaves in Vallombrosa (all right—that frequent allusion in Sayers is actually to Milton); they're so thick that they could easily be the subject of a Master's thesis—or even a doctoral dissertation. 

On a few occasions, we get a lengthier engagement with Shakespeare. In Have his Carcase, for example, Wimsey interviews some theatrical agents—and it leads to a conversation on interpretations of Richard III:


Later, this seemingly-tangential conversation relates to the mystery (there's a character who has a slightly-hunched back).

More often, the characters—conceivably inebriated on the heady wine of literature—integrate phrases into their own speech. Here, Wimsey starts with Hamlet and ends with Othello when a disturbing revelation comes upon him:



In the following exchange, Harriet Vane, who is ably assisting Lord Peter to investigate the murder or suicide of a man whose body she herself found on the beach, notes that Wimsey is prone to such quotations in moments of excitement:


As a final favorite example (for now), here's a moment from The Five Red Herrings in which one of the suspects of the murder of Campell starts to reveal his true (or is it true?) whereabouts during the time of the murder and why he didn't tell Constable Duncan about them at once:


Sayers' novels are remarkable enough, but the Shakespeare really gilds refined gold, paints the lily, and shakes a dash of Chanel No. 5 on the violet. 

Click below to purchase these two books
(just as a starting point, mind you)
from amazon.com
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Wednesday, May 24, 2017

"And tomorrow and": A Shakespeare-Related Sci-Fi Short Story

Roberts, Adam. "And tomorrow and." Adam Robots: Short Stories. Gollancz: London, 2013. 206-21.

An attentive reader called my attention (and, thereby, called all y'all's attention) to a intriguing short story.

The story retells the ending of Macbeth with the assumption that the witches were not equivocating.

It's a version of the usual "Wait a minute—people born by caesarean section are clearly born of women . . . what else could they be born by?" objection to the Weïrd Sisters' charm, but cleverly done.

I'm giving you a scene from early in the story where Macbeth and Macduff put down their swords and pick up a dictionary to settle the issue:



I find that to be quite fun—and that would almost be enough, but the story continues quite a distance into the future and arrives at a clever solution that reminds me of one of the stories in The Martian Chronicles.

You can read the whole story yourself here.  And we can all be grateful for the attentive readers of Bardfilm—among whom you can count yourself.

Links: The story on Google Books.


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Saturday, May 20, 2017

Book Note: The Shakespeare Almanac / Shakespeare's Sonnets Registered on this Date in 1609

Doran, Gregory. The Shakespeare Almanac. London: Hutchinson, 2009.

Shakespeare Geek asked me if I'd ever seen this volume.  I hadn't, but I tracked down a copy through Inter-Library Loan. And then I bought myself a copy.

The book is a trip through the year with Shakespeare-related events, accomplishments, and trivia, and I've generally been pretty impressed and interested in what it has to say.

I'm providing the page for today below. I mainly know of 20 May as the date of the registration of Shakespeare's Sonnets . . . but Doran gives us a fair bit more than just that:




I've only spotted one error in the book so far (the page for April 23 says that Shakespeare was baptized on April 25—but it was really on April 26).

The book is very interesting and would make a good addition to the library of any Shakespeare aficionado. 

Click below to purchase the book from amazon.com
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Thursday, May 18, 2017

Piñeiro's Hermia & Helena

Hermia & Helena. Dir. Matías Piñeiro. Perf. Agustina Muñoz, María Villar, Mati Diop.  Trapecio Cine, Ravenser Odd, and Cinema Conservancy. 26 May 2017 [US Theatrical Release]. 

I've heard a bit about this film from time to time, and it's about to have a US release. During the past few weeks, I've been paying more attention to Shakespeare in Spanish, so a film about a woman who is translating Midsummer Night's Dream is intriguing.

But that's not all that's intriguing!  From the plot and the trailer, it looks like quite a promising film.  The Film Stage has an entry on the film here. They offer this plot summary:
Camila (Agustina Muñoz, The Princess of France), a young Argentine theater director, travels from Buenos Aires to New York for an artist residency to work on a new Spanish translation of Shakespeare’s A Midsummer Night’s Dream. Upon her arrival, she quickly realizes that her work isn’t compensating for the loss of her friends and the lover she left behind. When she begins to receive a series of mysterious postcards from Danièle (Mati Diop, Claire Denis’s 35 Shots of Rum), a former participant in the same residency, Camila second-guesses her artistic endeavors and begins to seek answers about her past. Hermia & Helena mingles actors from Matías Piñeiro’s Buenos Aires repertory with stalwarts of New York’s independent film scene (Keith Poulson, Dustin Guy Defa, Dan Sallitt). It is a film of dead ends and new beginnings, navigating amorous detours across hemispheres and languages, in which the words of Shakespeare clash with the entanglements of modern, digital life.
And here's the official trailer:


Links: The Film at IMDB.

Thursday, May 11, 2017

Fodor's Hamlet: Not Just Another Ghost Story

Hamlet. Dir. Alexander Fodor. Perf. Wilson Belchambers, Lydia Piechowiak (as Polonia), Alan Hanson, and Tallulah Sheffield. 2007. DVD. S’more Entertainment, Inc., 2009.


Whenever I give a final examination in Shakespeare and Film, I show the students a couple of clips that they have to analyze on the spot. It's a good assignment, giving them a chance to demonstrate both the vocabulary and the skills of analysis that they've been developing through the course.

It's always something we hadn't covered in class, and I always show them two clips and have them choose the one they feel they can write about best. I also always tell them that I don't want a review or a summary of the plot; instead, I want them to develop an essay that analyzes the decisions the director(s) and the actor(s) have made, not one that critiques their ability to carry it out.

This year, I showed them a clip from the Fodor Hamlet. It's not a Hamlet that I particularly like—I don't think it works that well overall. But the nunnery scene has a lot that the students can write about, including the interesting shift from Polonius, Ophelia's father, to Polonia, Ophelia's sister:

video

I'm wondering what direction the students who choose that clip will take their essays. Will they talk about how the power dynamic changes with the shift from Polonius to Polonia? Will they talk about the disorientation the film intends us to have—preventing us from knowing exactly how the observation of Hamlet and Ophelia works? Will they talk about the seagull / dolphin sounds and whether they appear to be diegetic or non-diegetic? I do hope they do something like that—rather than critiquing the acting and the film-making (which is, admittedly, bad—but which isn't meant to be the focus of their essays).

Links: The Film's Official Web Site.


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Bardfilm is normally written as one word, though it can also be found under a search for "Bard Film Blog." Bardfilm is a Shakespeare blog (admittedly, one of many Shakespeare blogs), and it is dedicated to commentary on films (Shakespeare movies, The Shakespeare Movie, Shakespeare on television, Shakespeare at the cinema), plays, and other matter related to Shakespeare (allusions to Shakespeare in pop culture, quotes from Shakespeare in popular culture, quotations that come from Shakespeare, et cetera).

Unless otherwise indicated, quotations from Shakespeare's works are from the following edition:
Shakespeare, William. The Riverside Shakespeare. 2nd ed. Gen. ed. G. Blakemore Evans. Boston: Houghton Mifflin, 1997.
All material original to this blog is copyrighted: Copyright 2008-2016 (and into perpetuity thereafter) by Keith Jones.

The very instant that I saw you did / My heart fly to your service; there resides, / To make me slave to it; and, for your sake, / Am I this patient [b]log-man.

—The Tempest