Five Years of Theatre

In January of 2004, I began a semester of study-abroad in England. One of the great things about it was that I had the chance to see a lot of West-End shows, and during that semester I decided to start keeping track of every piece of theater that I saw. In a lovely bit of unplanned symmetry, I saw the world premier of Inana at the DCPA this evening, exactly five years after I saw Les Mis during my first weekend trip to London.

Here is the complete list of all 86 shows (82 different productions if you subtract the 4 that I saw twice) that I've seen in the last five years (favorites in bold):

Les Miserables, January 16, 2004 (Palace Theatre, London)
Stones In His Pockets, January 17, 2004 (New Ambassadors Theatre, London)
The Cherry Orchard, February 13, 2004 (Abbey Theatre, Dublin)
Macbeth, March 6, 2004 (Royal Shakespeare Theatre, Stratford-Upon-Avon)
Anything Goes, March 8, 2004 (Drury Lane Theatre Royal, London)
His Dark Materials I, March 11, 2004 (National Theatre Olivier Theatre, London)
Endgame, March 15, 2004 (Albery Theatre, London)
Jerry Springer- The Opera, March 19, 2004 (A Really Useful Theatre, London)
His Dark Materials I, March 20, 2004 (National Theatre Olivier Theatre, London)
His Dark Materials II, March 20, 2004 (National Theatre Olivier Theatre, London)
Le Papier Peint Jaune, March 27, 2004 (Théâtre du Grütli, Geneva)
Romeo and Juliet, March 31, 2004 (Royal Shakespeare Theatre, Stratford-Upon-Avon)
Handler, September 30, 2004 (Shanklin Theatre, Evansville)
A Bright Room Called Day, October 21, 2004 (May Studio Theatre, Evansville)
Jane Eyre: The Musical, November 13, 2004 (Shanklin Theatre, Evansville)
Flyin' West, February 25, 2005 (Shanklin Theatre, Evansville)
Months on End, March 23, 2005 (May Studio Theatre, Evansville)
Our Town, April 15, 2005 (Shanklin Theatre, Evansville)
The Birthday Party, May 19, 2005 (The Duchess Theatre, London)
The Importance of Being Earnest, May 21, 2005 (Bristol Old Vic, Bristol)
The Tempest, May 22, 2005 (Shakespeare’s Globe, London)
Henry IV Part 2, May 24, 2005 (National Theatre Olivier Theatre, London)
A Midsummer Night’s Dream, May 25, 2005 (Royal Shakespeare Theatre, Stratford-Upon-Avon)
Solstice, May 26, 2005 (The Other Place, Stratford-Upon-Avon)
A New Way To Please You, May 27, 2005 (Swan Theatre, Stratford-Upon-Avon)
Twelfth Night, May 28, 2005 (Royal Shakespeare Theatre, Stratford-Upon-Avon)
The Knot Garden (Opera), June 3, 2005 (Theatre Royal, Bath)
Henry IV Part 1, June 17, 2005 (Royal National Olivier Theatre, London)
The Barber of Seville (Opera), August 16, 2005 (Santa Fe Opera, Santa Fe)
Anatomy of Gray, September 23, 2005 (Shanklin Theatre, Evansville)
Anatomy of Gray, September 30, 2005 (Shanklin Theatre, Evansville)
Landscape of the Body, October 14, 2005 (May Studio Theatre, Evansville)
A Little Night Music, November 11, 2005 (Shanklin Theatre, Evansville)
A Little Night Music, November 19, 2005 (Shanklin Theatre, Evansville)
Little Shop of Horrors, December 24, 2005 (Temple Buell Theatre, Denver)
Six Characters in Search of an Author, February 17, 2006 (Shanklin Theatre, Evansville)
Wonder of the World, March 24, 2006 (May Studio Theatre, Evansville)
Tartuffe (Opera), April 1, 2006 (Wheeler Concert Hall, Evansville)
The Taming of the Shrew, April 28, 2006 (Shanklin Theatre, Evansville)
One Last Hope for the Lonely, May 1, 2006 (May Studio Theatre, Evansville)
Hay Fever, May 26, 2006 (Theatre Royal Haymarket, London)
Titus Andronicus, May 27, 2006 (Shakespeare's Globe, London)
Julius Caesar, May 31, 2006 (Royal Shakespeare Theatre, Stratford-Upon-Avon)
Avenue Q, June 15, 2006 (Noël Coward Theatre, London)
Sunday In The Park With George, June 16, 2006 (Wyndham's Theatre, London)
Speed-The-Plow, June 17, 2006 (Library Theatre, Manchester)
As You Like It, October 7, 2006 (Eugenia Rawls Courtyard Theatre, Denver)
Amadeus, October 25, 2006 (The Stage Theatre, Denver)
The Magic Flute (Opera), November 19, 2006 (Ellie Caulkins Operahouse, Denver)
365 Plays/365 Days, November 26, 2006 (Cafe Europa, Denver)
I Love You, You're Perfect, Now Change, January 18, 2007 (Town Hall Arts Center, Littleton)
King Lear, January 24, 2007 (The Stage Theatre, Denver)
The 25th Annual Putnam County Spelling Bee, January 28th, 2007 (Temple Buell Theatre, Denver)
Ragtime, March 8, 2007 (Boulder Dinner Theatre, Boulder)
The Sweetest Swing in Baseball, April 4, 2007 (The Ricketson Theatre, Denver)
Working- A Musical, April 11, 2007 (Tramway Theatre, Denver)
A Funny Thing Happened On the Way to the Forum, May 16, 2007 (The Stage Theatre, Denver)
A Funny Thing Happened On the Way to the Forum, May 22, 2007 (The Stage Theatre, Denver)
Wicked, June 1, 2007 (Temple Buell Theatre, Denver)
Urinetown, August 17, 2007 (The Space Theatre, Denver)
Third, September 13, 2007 (The Space Theatre, Denver)
You Can't Take it With You, September 20, 2007 (The Stage Theatre, Denver)
Monty Python's Spamalot, September 21, 2007 (Temple Buell Theatre, Denver)
Dirty Rotten Scoundrels, October 28, 2007 (Temple Buell Theatre, Denver)
La Traviata (Opera), November 11, 2007 (Ellie Caulkins Operahouse, Denver)
Pride and Prejudice, November 15, 2007 (The Stage Theatre, Denver)
Lydia, January 17, 2008 (The Ricketson Theatre, Denver)
Plainsong, January 24, 2008 (The Stage Theatre, Denver)
Spring Awakening, February 2, 2008 (Eugene O'Neill Theatre, New York City)
Rock 'N' Roll, February 2, 2008 (Jacobs Theatre, New York City)
Mad Forest: A Play from Romania, March 19, 2008 (Jones Theatre, Denver)
Merry Wives of Windsor, March 20, 2008 (The Stage Theatre, Denver)
My Fair Lady, March 28, 2008 (Temple Buell Theatre, Denver)
Gee's Bend, March 29, 2008 (The Space Theatre, Denver)
Harvey, April 17, 2008 (Tramway Theatre, Denver)
The Laramie Project, April 24, 2008 (Tramway Theatre, Denver)
A Writer's Diary (Adapted from Virginia Woolf's diaries), June 20, 2008 (Hamilton Recital Hall, Denver)
Sweeney Todd, June 29, 2008 (Temple Buell Theatre, Denver)
Henry the Eighth, July 20, 2008 (University Theatre, Boulder)
Love's Labour's Lost, July 25, 2008 (Mary Rippon Outdoor Theatre, Boulder)
Avenue Q, September 20, 2008 (Ellie Caulkins Operahouse, Denver)
Noises Off, October 2, 2008 (The Stage Theatre, Denver)
Glengarry Glen Ross, October 9, 2008 (The Ricketson Theatre, Denver)
The Miracle Worker, November 13, 2008 (The Space Theatre, Denver)
Anywhere But Rome, December 18, 2008 (Buntport Theater, Denver)
Inana, January 15, 2009 (The Ricketson Theatre, Denver)

The RSC production of A Midsummer Night's Dream is not only my favorite show on the list, but it is absolutely the best piece of theatre that I've ever seen in my life. The list includes 15 out of 36 from the Shakespeare canon, and for my lifetime I've seen 16 total (the other was Othello my freshman year at Evansville). I will add one more later this month when I see the Richard III at the DCPA.

I'm off to attend the presidential inauguration in Washington DC, so I should have some interesting stuff to write about when I return next week.

Things to read on the internets

I like reading Bill Simmons' writing.

He also has a podcast.

The B.S. Report led me to this blog.

I read the whole thing and enjoyed it very much.

In other news from the series of tubes:

There's more to life than annotated bibliographies

Once again, major thanks are due to Molly for providing just the right video to get my head back in the right place on a day when Foucault was on the verge of souring me on this whole thesis.

Sometimes words are not necessary

This was exactly what I needed to break up my recent cloudy mood and brighten my spirits:



Many thanks to Molly.

The World is a Mess, and I Just Need to Flee It

I have been watching clips of Sarah Palin's interview with Katie Couric (very dangerous if you're already feeling depressed about humanity), but this is the most messed up thing I've seen today.

I may never uncross my legs, but thank goodness for Sarah Silverman:

The Great Schlep from The Great Schlep on Vimeo.

I'll be taking Zombie Lit as an elective for my PhD in Horribleness

Haiku are easy
Unless your brains were eaten
By the living dead.

From Boing Boing (with an additional recommendation from my fellow zombophile Aunt Laura)

Losing Love's Labor on the Eastern Front

Last night I went up to Boulder to see the Colorado Shakespeare Festival perform Love's Labour's Lost. I had read the play previous to seeing it, and I was sure that they would make significant changes because the original text relies heavily on topical humor and wordplay that a contemporary audience simply won't get when it is performed. Also, it would be quite long if it was performed without any cuts, and it's quite tough to get audiences to sit through anything that goes over three hours. One consequence of the cuts (I suspect I was the only person in the audience to even notice) was that they chopped up some of the sonnets and made a mess of the iambic pentameter. I know that the typical audience member would struggle to even notice it, and I would have forgiven them that change if they hadn't made other choices that were far more questionable.

I knew ahead of time that they had chosen to set it in America in 1917, and I gather that the decision to set it on the verge of one of the two world wars is relatively common for 20th century productions, and it provides a useful way of framing the ending, which turns the traditional ending for a comedy on its head. I didn't object to the decision to change the setting, but I was quite curious to see what they would do about the scene in which the four lords disguise themselves as Russians to come woo the ladies, only to have the women outwit them and make them the butt of the joke.

It's no problem in an Elizabethan setting to play the young men in Russian garb as straightforward ridiculous comedy, but I was curious to see what the director would do about the fact that image of Russians in 1917 was something quite different from simply being goofy foreigners. To my great disappointment, they did nothing to address that issue, trusting that the historical ignorance of a typical audience would allow them to get away with it. Judging from the laughter of the rest of the audience when they came out in fur caps and did the stereotypical Russian dance, the director didn't pay a price for dodging the hard questions raised by that choice of setting, which made it all the more disappointing.

The other element of this production that I had a real problem with was that the cuts ended up taking much of the life out of the role of Rosaline. Their Rosaline was an actress with auburn hair, and rather than put her in a black wig or have her dye her hair, the director completely cut everything about "black" Rosaline. In and of itself those cuts didn't disrupt the plot, but together with some of the other, smaller cuts to her wordplay with Berowne, the result was that her role was reduced to the point that she no longer stood on the same level with him. Among the lovers, the King, the Princess, Rosaline, and Berowne are clearly the primary characters, but the balance of the play falters when one becomes secondary to the other three.

On the whole I did enjoy it and didn't regret going, but that was largely because of the fine job that the actors did (the actors who played Costard and Moth were especially good), and in spite of the poor choices the director made.

I love books (and hilarious online video thingies)

I've been meaning to check out Goodreads for a while now, and this evening I finally got around to it (along with discovering the delightful online series The Guild). It would be madness to try to go back and write reviews for all of my favorite books, but there are a some books that are too dear to me for a simple star rating to suffice, and I'll cross post them here (I'm also filling in some of them with past posts from here in which I talked about books I'd read).

Ender's Game by Orson Scott Card

My review

rating: 5 of 5 stars
Ender's Game captured elements of my childhood that no other work of fiction (or anything in any other medium) has ever presented in a way that felt believable. There have been countless works in which I sympathize with the protagonist, but the character of Ender captured something about me that I probably couldn't even have articulated before I read the book.


Dune by Frank Herbert

My review

rating: 5 of 5 stars
The sublime is a pretty elusive quality, but my definition has always been closely tied to a sense of transport. A truly sublime work of art is that which transports me out of myself, and Dune is one of the few books that achieves that rare feat. The rush of ideas in the passage describing Paul's emergence into his power managed to produce in me a visceral sense of vertigo. It's hard to imagine a more compelling example of the power of fiction.


Paradise Lost by John Milton

My review

rating: 5 of 5 stars
Milton's masterpiece is not only the greatest epic ever written in English verse, it has actually had significant influence on the way that people think about the Christian mythology. In my conversations with mainstream Christians, the things that they say about things like angels and Satan are much more consistent with the way that those concepts are depicted in Paradise Lost than how they a represented in the Bible.


His Dark Materials Trilogy by Philip Pullman

My review

rating: 5 of 5 stars
This trilogy starts off as a seemingly simple jaunt into the realm of adventurous fantasy, but the intellectual depth quickly reveals itself. Few books even attempt capture the agony of the conflict between romance and responsibility, and of the few that try, it's rare to see an author avoid the slippery slope of melodrama. The worlds that Pullman conjures are magnificent in and of themselves, but his true achievement is that he captures the joy and pain of growing up without romanticizing childhood or looking down on it.


View all my reviews.



Also, if you haven't checked out Dr. Horrible's Sing-Along Blog, what are you waiting for? Act II is up now (and is even more super-awesome than Act I). Even my friend Ben, who hates musicals, loved it, so nobody who is reading this has any excuse for not checking it out this weekend while it's still available for free (magic word!). I'll be done with my MA soon, so you'd better take my advice lest you find yourself on the wrong side of a guy with a PhD in Horribleness (I hear Duke offers five years of funding).

Dr. Horrible!

Watch it.

Learning from movies

This afternoon I went to see WALL-E, and I was quite pleased that it managed to live up to the elevated expectations that I had as result of all the good reviews and positive word of mouth. To make a movie about a trash robot, and to do it without any dialogue for 90% of the movie is an unimaginably bold move for a Hollywood film of any sort, but Pixar has proven their brilliance once again by crafting a touching and thoughtful film that is a stellar example craftsmanship in cinema.

It's not giving anything away to say that it has a surprisingly subversive message about how our wasteful consumer culture is destroying both the planet and the human race. The movie makes its point seamlessly, without any blunt didacticism, and it's hard to imagine a more compelling way to communicate concepts of conservation and good stewardship of the Earth. Unfortunately, the power of the film's impact on me made it that much more depressing to see that it did not penetrate the minds of my fellow movie patrons, who engaged in the typical movie theater behavior of leaving all of their scattered trash behind for someone else to clean up. If a film like WALL-E couldn't get people to change their behavior, it leaves me with little hope that we'll be able to achieve a happy ending of our own.

The world is bit less awesome

RIP George Carlin

There's a reason why the Second Amendment has all that "well-regulated militia" stuff

Can someone please invent a gun that you fire from your crotch? The gene pool is in danger, and these are clearly not the sort of people who will use conventional birth control.

Snuffing out other people's candles to make yours look brighter

Finals are still going on, so I'll keep this to some quick links. A larger post on the long-awaited conclusion of the Democratic primary contest is forthcoming.

ESPN.com has some news that Tiger Woods is apparently unaware of how boring his sport is to watch on television, so he's dissing hockey.

There's an interesting piece in Slate about how Eugene McCarthy's stubborn unwillingness to reconcile with the Kennedy supporters weakened the party in the months after RFK's assassination. In addition to the obvious political interest, there's also a fascinating bit about how McCarthy insulted the state of Indiana (which supported Kennedy) because they hadn't produced a poet to rival his friend Robert Lowell. It's amazing how much things have changed since 1968.

To finish, the Onion has an especially funny piece poking fun at John Grisham.

Hi, I'm an ad campaign... And I'm a parody.

I find the Mac/PC ads (and television ads in general) pretty annoying, which means that I'm generally not too receptive to the massive number of parodies of them, but as someone who enjoys comics and has followed the buzz for the two big comic-book films that are coming out this summer, this one actually tickled my fancy:

Subverting conventions

A few weeks ago I went to see the film Run Fat Boy Run, and although it wasn't bad, I left the theater feeling disappointed. Simon Pegg had won me over with Shaun of the Dead and Hot Fuzz, and I went into this one expecting to see it do for the inspirational sports movie what the other two had done for zombie gore-fests and buddy cop action flicks. Unfortunately, what I discovered is that as stale as the cliches of the sports movie genre have grown, it has yet to reach the point where a film could get away with reversing them. Just think what would happen if you tried to make a sports movie in which the hero triumphs by quiting in the face of adversity. Perhaps someday it will happen, but this film didn't even try.

Television in the Wild Wild Far East

It's fun to watch clips of Japanese television, as they tend to be either delightfully inventive or mind-bendingly weird. Jess recently pointed me in the direction of this lovely example of the first variety:

I love this as the premise for a game show, and they keep it interesting by having misleading openings that force the contestants to think beyond the body arrangement suggested by the shape. Plus, it never hurts to include some uncomplicated physical comedy.

That video reminded me of another one that I came across several weeks ago.

I'm still at a loss for words.

Mmm... sack.

When it comes to seeing plays, they tend to come in streaks for me, and thus last night I went to see the Denver Center Theatre Company's production of The Merry Wives of Windsor. The DTC generally does a good job with Shakespeare, and I was looking forward to it because I'd never seen this play performed before. Unfortunately, while the play wasn't bad, it was wasn't great either. It was moderately funny, and they didn't fall into the trap of playing it solely for cheap laughs, but it didn't live up to my expectations because they failed to present a coherent treatment of Falstaff.

I had the privilege of seeing Michael Gambon as Falstaff in both parts of Henry IV in London a few years ago, and I certainly wasn't expecting to see a performance like that here, but I was disappointed by the fact that this production seemed uncertain about whether or not Falstaff should be a sympathetic character. Part of his popularity is that he is such a likable character even though the audience recognizes that he is a villain, but they seemed to be treating Falstaff as a genuinely unsympathetic character.

It's not enough simply to declare him a villain and spend the whole play abusing him. According to my ideal interpretation of the play, Falstaff should be a sympathetic character who is eclipsed by the greater sympathy that the audience develops for the wives, but in this production that was not the case. The wives were a bit too malicious for me to share their joy in Falstaff's suffering, and the end result was a comedy that drew chuckles instead of laughter.

When you treat English as a shiv, everyone sounds like a blackguard

This video cracked me up when I finally had time to watch it earlier today. Beyond just being funny, it directs its mockery at one of my chief pet peeves, the attitude that "Our job is not to offer people the words they do use, but the words they should use."

Comedy Is War

Although I've only watched the Jimmy Kimmel Show three times, that was enough for me to be familiar with his running joke about bumping Matt Damon. I fully enjoyed this hilarious "revenge" video he made with Jimmy's girlfriend Sarah Silverman:


That video was funny and hugely popular, which called out for a response. I was not surprised to see this video with Jimmy and Ben Affleck come out, but I wasn't expecting them to raise the bar this high:


I can only hope that they will continue to spur each other on to produce equally brilliant counter-attacks, though I don't know what anyone could do that would top this one.

The Soul of Wit

I just got back from watching Juno, which a fine example of a well-written comedy. Lots of comedies are entertaining by virtue of the comedic talents of the performers, and the writing serves merely as a platform for them to express those talents (a good example would be Anchorman). There's nothing wrong with that sort of comedy, but it's not the writing that makes it good.

Juno had both witty one-liners and longer bits of clever humor, but it also had a coherent emotionally-potent story that did not rely on typical Hollywood manipulation to power its more touching moments. It reminded me in some ways of the stage version of Pride and Prejudice that I saw recently, but the big flaw in that show was that they tried so hard to work in so much of the novel's clever language. It was a very up and down show because the story's core is the love story, but it gave the witty lines so much weight that the romance lacked heft. Juno succeeded by building around the comedy, which allowed the romance to flourish in a secondary position.