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Life in a Northern Virginia suburb of Washington, D.C. B.M.A.T.C., and Etruscan typewriter erasers. Blogged by David Gorsline.
A well-executed tragedy dressed up as a drawing room comedy about bestiality. The dialogue crackles with wordplay and allusions. Stepehn Schnetzer brings his expressive bassoon of a voice to the role of Martin, the architect doomed to fall in love with a goat.
Structural elements of the play—the repetition of Martin's story of meeting Sylvia, the in medias res reading of the letter from Ross, the doubled emphasis of the word "crest"—enhance the tragic feel of the piece.
posted:
8:26:55 PM
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A repeat viewing for me, who saw this production a few years ago but didn't write it up. If memory serves, Webre has softened the court dance at the Capulets' ball: I recollect a rather shocking goose step in the earlier show. Jason Hartley steals the show as Mercutio, especially his comic turns as he dies in the last street fight scene.
And the commedia del' arte sequence during one of the street scenes feels new: there's a spiffy run of turns for Jonathan Jordan in it.
The final scene in the crypt, in which Romeo reprises their pas de deux with the inert corpse of Juliet, moves one as before.
posted:
8:07:55 PM
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Gene Kranz never said, "Failure is not an option." Stephen Cass tells the
real story of
Apollo XIII.
(Thanks to blogdex.)
posted:
11:48:32 AM
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One-pager by Eddie Muller surveying
films noirs:
Anthony Mann's major noirs (Desperate, T-Men, Raw
Deal, Border Incident, Side Street, parts of He Walked
by Night) are, as a body of work, better than [Fritz] Lang's. Of course,
he had John Alton as his cameraman on most of those. Alton is the ace noir
lensman, bar none.
Lots more primers (Hammer horror, Dogme 95, Czech-Solovak cinema) at
GreenCine.
(Thanks to kottke.org.)
posted:
11:48:31 AM
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