Wednesday, June 27, 2018

Book Note: Malvolio's Revenge

Masson, Sophie. Malvolio's Revenge. New York: Ember, 2012.

The last book I read by Sophie Masson was The Madman of Venice (for which, q.v.). Indeed, I once taught it in a course I developed called "Modern Shakespearean Fiction."

I ran across this one in an essay for the most recent Shakespeare Association of America Convention. From the title, I thought it might be a sequel to Twelfth Night, and it does have some elements of that, but it's more of a mirror novel, but with a twist.

The story involves a touring troupe of actors putting on a play entitled Malvolio's Revenge. They end up in New Orleans. The year is 1910. There's much witchcraft, mystery, and intrigue.

Because of the mystery and intrigue, I don't want to say too much about the plot—spoilers, you know. But I'll provide a few sample pages—particularly geared toward the plot of the play-within-the-novel.

The first gives us the troupe's first sight of a Louisiana manor house called . . . yes, you can probably guess it . . . Illyria:


Later, we learn a bit more about the play:



I thought the book had a good sense of setting and tone, and the plot is intriguing. We don't get as much of the play-within-the-novel as I'd like—I'd like to learn more of the vision of the afterlife of Twelfth Night that the novel plays with.

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Tuesday, June 12, 2018

Shakespeare in The Flintstones

"Curtain Call at Bedrock." By George O'Hanlon. Perf. Alan Reed, Jean Vander Pyl, and Mel Blanc. Dir. Joseph Barbera and William Hanna. The Flintstones. Season 6, episode 20. ABC. 18 February 1966. DVD. WarnerBrothers, 2012.

In an episode of The Flintstones close to the end of its run, our Bedrock buddies put on their production of a Shakespeare play.

In its usual style, the name has been altered to fit the paleo setting. Thus, we have Romeorock and Juliettestone as the play.

The plot involves Fred Flintstone objecting to playing the lead role of Romeorock—even though he knows all the lines and is adequate in putting passion into them. At least, he's more adequate than Barney Rubble, who is tagged to play the role.

Barney keeps forgetting his lines. And when he does deliver them, he does so very monotonously. The controversial intervention of the Great Gazoo solves the former, but it can't do anything about the latter.

I've compiled some clips to give you a sense of the episode, which had a surprising number of lines from Shakespeare in it (and one reference to public speaking majors):


To avoid spoilers, I'm not showing you anything from the actual performance at the end of the episode—you'll have to seek that out for yourself (though the image that heads this post may give you a clue as to how it works out).

There's a Season five episode (episode 11, for those keeping score) titled "Dino and Juliet," but I suspect that its use of Shakespeare is much more generic.

Links: The Episode at IMDB.


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Monday, June 11, 2018

Book Note: Kino & Teresa

Lujan, James. Kino and Teresa: A Play in Two Acts set in New Mexico in the Years after the Pueblo Revolt of 1680, after the Spanish Re-Conquest of 1692, Based on Shakespeare's The Tragedy of Romeo and Juliet. Lexington: Native Voices, 2005. Post-Production Draft.

At the 2018 Shakespeare Association of America convention, I learned about Kino and Teresa, a Native-American play that retells the story of Romeo and Juliet.

I don't know much about the period 1680 to 1692 in New Mexico. I know John Dryden's Absalom and Achitophel was published in 1681, but that's not exactly relevant here.

The play is set in a Spanish town with two groups of Pueblo peoples: those who are living peaceably in the town (though they are subject to racist attitudes) and those who are living outside the town and who are suspected of plotting against the Spaniards.

The play stays very close to Shakespeare's original—sometimes seeming to proceed almost speech-for-speech.

I'll give you two samples (click on the images to enlarge them). Here's one from early in the play. It's setting things up . . . and then working into the opening "Do you bite your thumb at us?" exchange:



And, since I know you're going to ask, here's how the balcony scene plays itself out:


Bypassing the "wherefore" conundrum, we get "O, Kino, Kino! Why have you come into my life, Kino?"

The play provides an intriguing setting for its retelling of Romeo and Juliet, but it may stay a bit too close to the original to provide a depth of commentary on the cultures involved in that setting. But I'd love to see it in production—that might bring the cultural elements to the foreground.

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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 2008-2020 (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