Wednesday, June 28, 2017

Shakespeare in Star Trek: Beyond

Star Trek: Beyond. Dir. Justin Lin. Perf. Chris Pine, Zachary Quinto, and Karl Urban. 2016. DVD. Paramount, 2016.

Just when you think you've assembled every single Shakespeare reference, allusion, and quote in all of canonical Star Trek, they release a new film with a new quote.

This time, it's quite a good one, though it is obscure.

First, the scene. Reboot Spock has been injured. Reboot Kirk is worried. Reboot McCoy has found some ancient medical equipment that he hopes will help.

The word hope is the cue for Reboot Spock to quote some Shakespeare:

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The quote Reboot Spock chooses is one Measure for Measure's Claudio delivers while he is under sentence of death: "The miserable have no other medicine / But only hope" (III.i.2-3). If Reboot Spock had had the strength, he doubtless would have concluded the line: "I have hope to live, and am prepar'd to die" (III.i.4).

Reboot Bones is nonplussed, but only for a moment. Either he recognizes the quote or he figures that Reboot Spock is more likely to quote Shakespeare than . . . say . . . Dryden.

I'd like to read more into the quote than the surface connection of hope and medicine. In the film, Reboot Spock and Reboot Uhura have decided not to pursue a romantic relationship; Claudio and Juliet have had the decision not to pursue a romantic relationship thrust upon them. Claudio without Juliet is as miserable as Reboot Spock without Reboot Uhura. 

Naturally.

Links: The Film at IMDB.


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Tuesday, June 27, 2017

Gerard Manley Hopkins and Shakespeare

Hopkins, Gerard Manley. The Poems of Gerard Manley Hopkins. Ed. W. H Gardner and N. H. MacKenzie. Oxford: Oxford University Press, 1970. 

I recently had occasion to dip into my volume of Gerard Manley Hopkins poems. As I searched for the poem I had in mind ("Spelt from Sybil's Leaves," to those who have a keen interest in the minutiae), I started to wonder whether Hopkins had written any reflections on Shakespeare.

Hopkins was certainly a well-educated man, and Shakespeare was undoubtedly a part of that.

Indeed, I learn from an article entitled "Hopkins, Hamlet, and the Victorians: Carrion Comfort?" that "Hopkins' notebooks are littered with obscure and disjointed notes, lines, and phrases from Shakespeare which he seems to regard less as integral parts of a particular play's meaning or insights about experience and more as fodder for specific passions" (414).

What I found in the volume was unexpected. Hopkins spent some time working with songs from Shakespeare, rewriting them . . . in Latin and Greek.

As I have small Latin and less Greek, this was a bit disappointing. It's more academic. Still, there's an interest and a beauty to the songs he translated from The Tempest, though I'm not sure where the Hecuba comes in to "Come unto these yellow sands"—what's Hecuba to Ariel or Ariel to Hecuba? And something is lost from "Full Fathom Five"—and not just the alliteration—when it's translated into Greek.

Here are three of the songs for those who have additional interest. In the meantime, I've found a number of articles about Hopkins and Shakespeare, and I'll be glancing at those in my copious free time over the next few months.



Works Cited

Wormald, Mark. "Hopkins, Hamlet, and the Victorians: Carrion Comfort?" Victorian Poetry 40.4 (2002): 409-31.

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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. 

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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
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