I went last week to a production of Rigoletto, the revival of a production first staged in 2001. A criticism that I read in advance informed me that the initial orgy scene had been toned down somewhat by comparison with what had gone seventeen years before. Was this progress or regression? The critic did not venture an opinion on this vital question; he merely recorded the change as a fact.
It seems that all opera productions these days need an orgy scene, just as doctoral theses in the Soviet Union used to need at least one quotation from Lenin. There was a time when an orgy would have been censored, but now it is obligatory — no opera without one. There was a brief orgy scene in the last Flying Dutchman that I saw, and it was a bit of a relief when they got it over with because I knew that it must be coming and tension mounted until it did. It was a bit like childhood diseases in the old days: The sooner you had them, the quicker you got over them.
The problem with orgies is that once you’ve see one, you’ve seen them all, and these days they are staged literally rather than suggestively, as if the aging audience has to be reminded of what sex actually is. Moreover, they are staged like a tableau of Krafft-Ebing’s Psychopathia Sexualis, the fin de siècle compendium of what used to be called, in those far-off judgmental days, perversions. The implicit, however, is more powerful than the explicit, or it used to be. The explicit, in fact, is the enemy of the voluptuous.
Theodore Dalrymple, “Adding Injury to Insult”, Taki’s Magazine, 2018-01-20
November 22, 2022
QotD: The obligatory orgy scene
July 25, 2022
Rowan Atkinson & Hugh Laurie – Shakespeare and Hamlet (1989)
Nathaniel Brechtmann
Published 1 Sep 2011A sketch called “A Small Rewrite”, performed by Hugh Laurie (aka House) as Shakespeare and Rowan Atkinson (aka Mr Bean) as the editor.
September 3, 2021
QotD: Drama critics
It’s a second-rate job, folks. Being a drama critic on Broadway wouldn’t keep a decent mind occupied 10% of the time. So you don’t even get second-raters. You get the dregs, the stage-struck but untalented neurotic who eventually drifts into criticism as a means of clinging peripherally to the arts. And most of your cruel critics come this way: they are getting their own back.
William Goldman, The Season: A Candid Look at Broadway, 1969.
August 20, 2021
QotD: First Ministers Conferences
There is no actual necessity for them, you understand. The federal and provincial governments are quite able to function within their respective jurisdictions without their leaders dashing off across the country at regular intervals to quiver their jowls at each other. The first such meeting was not held until 1906. Just 10 more “dominion-provincial conferences” occurred over the next 40 years. Not until the 1950s did they become the semi-annual affairs we know today. That this was also when the TV cameras arrived is possibly not coincidental.
If there were actual business to transact, it could just as easily be arranged by subordinates, or over the phone, or via video-conference. Or if an issue were so thorny that it genuinely required a fleshly first-ministerial encounter, the prime minister could always meet bilaterally with the premier or premiers involved, as Stephen Harper did.
But a full-on, capital-F First Ministers Conference, official cars, flag-backed lecterns and all? There is invariably but one purpose to these: for the 10 premiers to corner and harass the prime minister, using the imbalance in their numbers to depict the feds as the outlier. Sometimes this is in furtherance of the premiers’ perennial campaign for more federal cash. Sometimes, as in the current exercise, the point seems to be conflict for conflict’s sake. But always — always — it is theatre.
Only it is theatre of a peculiar kind: with the curtains drawn and the sound down, the audience being instead entertained by periodic reports from agents for each of the actors about who said what. Thus the breathless dispatches from reporters orbiting the conference — they are kept well away from the actual meeting room — every line of it originating from sources, federal or provincial, with a professional interest in puffing one leader or the other.
Andrew Coyne, “A semi-annual opportunity for premiers to strut and preen and accomplish nothing”, National Post, 2018-12-07.
July 13, 2021
“Samuel Beckett was one of the twentieth century’s very greatest conmen and his dupes continue to relish being parted from their cash”
In The Critic, J.S. Barnes digs up the bones of Samuel Beckett for a thorough kicking:
Samuel Beckett as a student in 1922.
Wikimedia Commons.
A good conman needs three key attributes to succeed: swagger, plausibility and commitment to the perpetuation of the con. A great conman, meanwhile, needs one additional factor: the discovery and nurturing of victims who are not only willing to be gulled but who come to actively enjoy that sensation.
Samuel Beckett was one of the twentieth century’s very greatest conmen and even now, decades after his death, his dupes continue to relish being parted from their cash.
That he was plausible in his claims is clear from the fact that his plays are still performed all around the world. His swagger may be witnessed in the endless succession of black and white photographs which accompany most editions of his work: the old fraud gazing grimly out at the reader from his home in France, like some weathered statue come dolefully to life, looking as though he is considering the fundamental inequities of existence or, perhaps, rumours of a forthcoming croissant shortage.
As for his commitment to the long con, he had form. In 1930, he gave a lecture at Trinity College, Dublin, about a poet (Jean du Chas) and an artistic movement (Le Concentrisme) which he had entirely invented, both fooling and riling up the dons. He learnt well from this, one suspects, never again to allow the mask to slip.
Following his early, glumly unreadable novels, much indebted to James Joyce, the real foundation of Beckett’s reputation is his 1953 play Waiting for Godot. The set-up is vivid and intriguing: in a rural wasteland sit two ravaged, witty tramps, Vladimir and Estragon, who trade barbs and banter while waiting for the arrival of a third individual who, we soon suspect, will never show up. And then, of course, nothing of any consequence happens.
Two additional characters wander on and off stage. The tramps talk and bicker some more. Godot never puts in an appearance. As one of the characters remarks: “Nothing happens. Nobody comes, nobody goes. It’s awful.”
There is no progression or change in the characters, no shift in their situation. Any clear-eyed audience member who has gone into the theatre meaning to judge the thing in as objective a fashion as possible will soon find themselves restless, then bored, then on the cusp of feigning some sort of medical emergency simply to get out of the stalls without causing too much of a fuss.
At this, avid Beckettians are no doubt sprawling on their chaise longues, sucking ferociously on a Gauloise and muttering to themselves that this lack of narrative progression, this absence of change, is the very crux of old Sam’s oeuvre. Confronted with the horrors of the twentieth-century, they say, pointlessness and circularity are the only things which make sense. Laughter in the ruins is all that’s left.
July 10, 2021
History-Makers: Aristophanes
Overly Sarcastic Productions
Published 9 Jul 2021He told the Athenians they were a disaster and they gave him a prize. Aristophanes wrote in the new Theatrical genre of Comedy during the golden age of Athens, and used his plays to viciously satirize Athenian society. They create a fabulously clear portrait of ancient Athenian life, and they have the corollary benefit of being funny as hell.
SOURCES & Further Reading: The 11 plays of Aristophanes, with particular focus on Clouds and Women at the Thesmophoria, Britannica’s “Aristophanes”, Crash Course Theater #2 & 4.
Partial Tracklist: “Sneaky Snitch”, “Marty Gots A Plan” Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 4.0 License
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From the comments:
Overly Sarcastic Productions
2 hours ago
While we’re here, one subject I cut for time is the relationship between “The Clouds” and the trial of Socrates.It’s commonly assumed that Aristophanes’ satire played a part in Athens’ decision to charge and ultimately kill Socrates, but that interpretation doesn’t really hold up to scrutiny.
The Clouds was performed over 20 years before Socrates’ trial. If the play had that strong an effect on Athens, we can assume Socrates would have been charged far sooner. And Plato’s own writings paint Aristophanes rather favorably — if Plato blamed Aristophanes for the trial, he does not make that obvious.
There IS one snide line in Socrates’ Apology that seems to a modern reader like it’s referring to The Clouds, but really we can’t be sure. Aristophanes was not the only comic playwright in Athens, and certainly not the only person who disliked Socrates. Did The Clouds contribute to a negative public perception of Socrates? Sure, in part, at least when it was performed in 423. But it’s faaar more likely that Socrates’ trial and death in 399 owe more to his persistent habit of being a Colossal Pain In The Ass to whomever he was speaking with.
Reading The Apology makes it clear that nobody had the power to make Athens hate Socrates more than Socrates.
-B
June 13, 2021
Fundamentally unserious nation – “… for Canada’s leaders, all the world’s a ‘gram”
In the Friday wrap-up edition of The Line, a consideration of how shallow, insincere posturing, and performing became the hallmarks of Canadian government leadership:
Typical image search results for “Justin Trudeau socks”
Look, we at The Line are as tired as you are about the more, shall we say, theatrical aspects of Justin Trudeau’s approach to being prime minister. Whether it was his Day One “because it’s 2015!” smirk, his obsession with showing off his socks to foreign dignitaries, his fashion sense while vacationing in India, and countless other Trudeauvian trips of the light fantastic, the man has always seemed more interested in performance than in the substance of governing.
But that’s not quite right. Because if there is one thing we’ve come to realize over the past five years and a bit, it is that for the Trudeau Liberals, the performance is the governing. For example, we used to wonder at the amount of time and energy that Cabinet ministers spent working on their Instagram accounts, since it went far beyond what would seem to be necessary for promoting and communicating policy. But once we understood that it was the job of policy to promote the Instagram account, and not the other way around, all of this proudly vacuous behaviour started to make a lot more sense.
But while we’ve gotten more or less used to it here in Canada (or maybe the right word is “numb”), we’ve always wondered how it looks through foreign eyes. Those abstract wonderings became a little more concrete over the past few weeks. Countries are opening up, people are starting to travel, politicians are going back to their old habits of holding regular meetings to make sure the world is still ticking along. And for Canada’s leaders, all the world’s a ‘gram.
So it was that at the G7 summit in Cornwall England this week, Prime-Minister-In-All-But-Name Chrystia Freeland was the only finance minster to wear a mask in a group photo taken outdoors. Ok, we thought, maybe she’s not fully vaxxed, maybe she has reason to be extra cautious. Except in a string of photos taken just before the official photo, Freeland was captured scrambling to put on her mask, not for safety, but for show.
Freeland was just getting the crowd warmed up for her nominal boss, Justin Trudeau. At his official G7 welcome on Friday, Trudeau was the only leader to put a mask on to give Boris Johnson the chummy elbow, only to remove it a few seconds later. We get it. It’s a version of the old “what lie did I tell?” problem, but for acting. Which audience am I playing to at this exact moment? It’s hard for even an old luvvie like Trudeau to keep track.
Once he’s back in Canada, Trudeau is going to hole up in a hotel for a few days, which the Globe‘s Cam Clark aptly referred to as “symbolic penance for a symbolic policy.” We agree with Clark that there’s some good fun in seeing someone get tied up in their own moral posturing. But while Clark is unhappy at the prospect of the prime minister cooling his heels for three days, we’re less fussed about Trudeau’s prospective stay in Hotel Q. Because while Clark thinks “there are real things” for the prime minister to be doing, we doubt that very much.
June 3, 2021
The Supernatural Adventures of Arthur Conan Doyle | B2W:ZEITGEIST! I E.19 Spring – 1923
TimeGhost History
Published 2 Jun 2021Being the creator of the legendary Sherlock Holmes has made Arthur Conan Doyle famous for his scientific rationality. But Doyle also has a deeply held belief in the existence of the spirit universe. In a world still reeling from the shock of the Great War, he is not alone.
(more…)
April 16, 2021
“Students will find in Shakespeare absolutely no moral compass”
Sky Gilbert responds more than adequately to a demand to “Cancel Shakespeare” that also appeared in The Line recently:
This was long thought to be the only portrait of William Shakespeare that had any claim to have been painted from life, until another possible life portrait, the Cobbe portrait, was revealed in 2009. The portrait is known as the “Chandos portrait” after a previous owner, James Brydges, 1st Duke of Chandos. It was the first portrait to be acquired by the National Portrait Gallery in 1856. The artist may be by a painter called John Taylor who was an important member of the Painter-Stainers’ Company.
National Portrait Gallery image via Wikimedia Commons.
Allan thinks that Shakespeare’s language is difficult and old fashioned, and that students today find analyzing the complexities of his old-fashioned rhetoric boring and irrelevant. Yes, Shakespeare essentially writes in another language (early modern English). And reading or even viewing his work can be a tough slog. Not only did he invent at least 1,700 words (some of which are now forgotten today), he favoured a befuddling periodic syntax in which the subject does not appear until the end of a sentence.
But a study of Shakespeare’s rhetoric is important in 2021. There is one — and only one — exceedingly relevant idea that can be lifted from Shakespeare’s congested imagery, his complex, sometimes confusing metaphors — one jewel that can be dragged out of his ubiquitous references to OVID and Greek myth (references which were obviously effortless for him, but for most of us, only confound). And this idea is very relevant today. Especially in the era of “alternate facts” and “fake news.”
This idea is the only one Shakespeare undoubtedly believed. I say this because he returns to it over and over. Trevor McNeely articulated this notion clearly and succinctly when he said that Shakespeare was constantly warning us the human mind “can build a perfectly satisfactory reality on thin air, and never think to question it.” Shakespeare is always speaking — in one way or another — about his suspicion that the bewitching power of rhetoric — indeed the very beauty of poetry itself — is both enchanting and dangerous.
Shakespeare lived at the nexus of a culture war. The Western world was gradually rejecting the ancient rhetorical notion that “truth is anything I can persuade you to believe in poetry” for “truth is whatever can be proved best by logic and science.” Shakespeare was fully capable of persuading us of anything (he often does). But his habit is to subsequently go back and undo what he has just said. He does this so that we might learn to fundamentally question the manipulations of philosophy and rhetoric — to question what were his very own manipulations. Shakespeare loved the beautiful hypnotizing language of poetry, but was also painfully aware that it could be dangerous as hell.
In fact, Shakespeare’s work is very dangerous for all of us. That’s why students should — and must — read it. Undergraduates today hotly debate whether The Merchant of Venice is anti-Semitic, or whether Prospero’s Caliban is a victim of colonial oppression. Education Week reported that “in 2016, students at Yale University petitioned the school to ‘decolonize’ its reading lists, including by removing its Shakespeare requirement.”
It’s true that Shakespeare is perhaps one of the oldest and whitest writers we know. (And sometimes he’s pretty sexist too — Taming of the Shrew, anyone?). But after digging systematically into Shakespeare’s work even the dullest student will discover that for every Kate bowing in obedience to her husband, there is a fierce Lucrece — not only standing up to a man, but permanently and eloquently dressing him down. (And too, the “colonialist” Prospero will prove to be just as flawed as the “indigenous” Caliban.) William Hazlitt said: Shakespeare’s mind “has no particular bias about anything” and Harold Bloom said: “his politics, like his religion, evades me, but I think he was too wary to have any.”
Shakespeare Summarized: King Lear
Overly Sarcastic Productions
Published 22 Jul 2014Sorry it’s been a while. Summer vacation plays merry hell with both my work ethic and my voice. *discreetly hacks up a lung*
King Lear! He’s not a very good king, and he’s not a very good father! Good thing that, by the end, he’s neither of those things.
February 14, 2021
Shakespeare Summarized: A Midsummer Night’s Dream
Overly Sarcastic Productions
Published 27 Feb 2014Finally, a summarized comedic romance! And it was almost out in time for Valentine’s Day, when it would have been legitimately appropriate to release!
…I’m making progress, guys. Cut me some slack. 😛
Midsummer Night’s Dream is one of Shakespeare’s best plays. And nobody died this time! What a twist!
January 31, 2021
Adapting Noël Coward’s Blithe Spirit for the screen – “The ensuring film has all the light charm and witty élan of a documentary about slaughterhouses”
At The Critic, Alexander Larman is not happy with the latest attempt to translate a Coward play to the big or small screen:
Original theatrical release poster.
Wikimedia Commons.
Recently, the new film of Noël Coward’s masterly play Blithe Spirit was released on various streaming services, after its cinematic release was cancelled due to the irritating absence of open cinemas to show it. I had been looking forward to it for some time. It had a fine cast of hugely talented comic actors, led by Dan Stevens and including Isla Fisher, Leslie Mann, Julian Rhind-Tutt, and, in the great role of the fraudulent medium Madame Arcati, none other than Judi Dench. It was directed by Peter Hall’s talented son Edward, and its inspiration remains one of the most uproariously entertaining plays of the twentieth century, complete with some of Coward’s finest dialogue. It would be hard to mess it up.
Alas, “messed up” is an understatement when it comes to describe what has happened to the film. A clue comes in the credit: “adapted by Piers Ashworth, Meg Leonard and Nick Moorcroft”. The three of them were previously responsible for the mediocre sea-shanty comedy (not words one often writes) Fishermen’s Friends, and Ashworth and Moorcroft should be prosecuted at the cinematic equivalent of the Hague for their shameful bastardisation of Ronald Searle’s St Trinian’s series into two terrible films that bear as much relation to Searle’s illustrations as they do to Noël Coward. So it is little surprise that they have decided to “improve” on the original play. The writers throw out most of the original dialogue, retain only the bare bones of the storyline, introduce an irrelevant and mawkish subplot for Madame Arcati (who is now bewilderingly played mostly straight) and generally commit artistic vandalism.
The ensuring film has all the light charm and witty élan of a documentary about slaughterhouses. The cast do their best with the terrible material, but as Stevens manfully tries to make lines about erectile dysfunction amusing – “Mr Peasbody’s got stage fright” – the look of deep shame that occasionally comes over their faces cannot be disguised by the over-bright lighting and incongruously jaunty music. Had it been given a cinematic release, there may well have been indignant walkouts and outraged complaints at the box office. As is, I doubt that many disappointed viewers, expecting a more enjoyable film, will bother watching this travesty to the end.
January 28, 2021
Blade Runner 1921?! – Robot Apocalypse Now | B2W: ZEITGEIST! | E.10 – Winter 1921
TimeGhost History
Published 27 Jan 20201Modern technology promises a lot, but it can also bring unprecedented horror. This season, the people of Czechoslovakia get to see that for themselves.
Join us on Patreon: https://www.patreon.com/TimeGhostHistory
Hosted by: Indy Neidell
Written by: Francis van Berkel
Director: Astrid Deinhard
Producers: Astrid Deinhard and Spartacus Olsson
Executive Producers: Astrid Deinhard, Indy Neidell, Spartacus Olsson, Bodo Rittenauer
Creative Producer: Maria Kyhle
Post-Production Director: Wieke Kapteijns
Research by: Francis van Berkel
Edited by: Michał Zbojna
Sound design: Marek KamińskiColorizations:
Daniel Weiss – https://www.facebook.com/TheYankeeCol…
Mikołaj Uchman
Norman Stewart – https://oldtimesincolor.blogspot.com/
Mikołaj Cackowski
KlimbimSources:
Some images from the Library of Congress
Bibliotheque nationale de FranceIcons from The Noun Project:
– noun_Sound_3530255
– Microphone by Agung Cahyo sSoundtracks from Epidemic Sound:
“Epic Adventure Theme 3” – Håkan Eriksson
“I Am Unbreakable” – Niklas Johansson
“Waiting like the Storm” – Rand Aldo
“Le Chat Noir 1” – Martin Landh
“A Single Grain Of Rice” – Yi Nantiro
“Alleys of Buenos Aires” – Tiki Tiki
“Age Of Men” – Jo WandriniArchive by Screenocean/Reuters https://www.screenocean.com.
A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.
From the comments:
TimeGhost History
1 day ago (edited)
Episode 10 of the series and for the first time we’re looking at a decidedly negative outcome that people imagined might come with further technological progress. Over 100 years later and it’s still something people are fearful of, and it often feels like Artificial Intelligence providing a real threat to humanity’s existence is just around the corner.We’d be interested to know what you guys all think. Is there a chance that something along the lines of what Čapek imagined actually happening? Let us know in the comments.
NOTE: Unfortunately an error has snuck into this week’s episode. The portrait that is supposed to show Herbert Hoover is in fact of his son, Herbert Hoover Jr. We are working on getting this fixed as fast as possible, and we apologize for the inconvenience in the meantime.
January 17, 2021
Las Vegas marks a significant loss
In Saturday’s NP Platformed newsletter, Colby Cosh notes the death of Siegfried Fischbacher, better known as half of the stage magic team Siegfried & Roy:
… Las Vegas, as we all know, is a special place in which ordinary moral writ and aesthetic judgment have greatly diminished force. Vegas is honouring Siegfried & Roy this week, and will recognize them forever, as city fathers. Even Penn Jillette, a fellow magician whose career has been a crusade against old-school schmaltz and glitz and other Teutonic concepts that Siegfried & Roy embraced, inscribed a small tribute to his colleague.
Siegfried & Roy were true pioneers in transforming Vegas into a full-spectrum entertainment capital. Their basic function was not to parade oppressed animals, or to do conjuring tricks. Considered as “magicians,” did they have a signature effect? Or is the truth that prop-heavy, mechanistic stage magic is just relatively easy to combine with a wildlife act that also travels poorly?
No, their mission was to extract money from the family members of degenerate gamblers and, gosh, were they good at it. When they started out at the New Frontier hotel in 1981, Las Vegas was still its postwar self — an anarchic watering hole and sybaritic paradise mostly for adult men, associated with a boozy, jocular style of entertainment that was rapidly receding in the rear-view mirror of the culture. (Siegfried & Roy were never trendy, exactly, but being unique was enough.)
Almost no one can have consciously envisioned a world in which gambling in various forms regained wide, post-Protestant social acceptance. That gambling would one day become legal everywhere at an astonishing pace would have been seen as a nuclear-grade threat to the literal existence of the city. The nightmare has arrived, but Vegas is bigger and more economically sound than ever. Siegfried & Roy helped reshape the industrial nucleus of a city you don’t even have to like gambling — or showgirls — to enjoy.
January 6, 2021
QotD: George Bernard Shaw’s views on eugenics
The Irishman’s opinions are, however, coming back to mangle and even smash his reputation. A group of students at RADA have called for Shaw’s name to be removed from the drama school’s theatre as part of an anti-racism action plan. This matters, because Shaw provided for the school in his will, and last year the royalties from his work contributed more than £78,000 to RADA. Yet the accusation that the renowned theatre college “celebrates historical figures who embraced racist ideologies” does have a certain merit. Problem is, as has been debated myriad times: do, can, and should we separate an artist’s work from their period, character and ideas? If the ghosts of anachronism and historical assumptions are never to be exorcised, there are an awful lot of people who will fail and fall to the wide-awake litmus test.
Shaw did indeed write, that, “The only fundamental and possible socialism is the socialisation of the selective breeding of man” and, chillingly, “A part of eugenic politics would finally land us in an extensive use of the lethal chamber. A great many people would have to be put out of existence simply because it wastes other people’s time to look after them.” He lectured for the Eugenic Education Society, praised Stalin (naturally) the early Mussolini, and even Hitler as late as 1935. He abandoned most of all this in his old age but never made any formal apology.
He was also an incisive critic of imperialism, mercilessly exposed establishment hypocrisy, opposed war and oppression throughout his career, and cared passionately about actors and writers – the very people at RADA trying to expunge his name from their place of learning. And here’s another challenge and even embarrassment for those who would remove the social engineers from the litany of the great and the good: many of their harshest opponents were not others on the left but, in Edwardian Britain and in the 20s and 30s, conservative Roman Catholic writers led by G.K. Chesterton and Hilaire Belloc.
Michael Coren, “Eugenics and the intellectual left”, The Critic, 2020-09-16.
