OK, for those of you who know me, you may (probably) know that I’ve been in a bit of a lull between work gigs for the last year. The programming language that’s been my bread-and-butter for the last two decades has, well, fallen out of the mainstream.
There are so many plays. Some obvious collaborations (The Two Noble Kinsmen and the like). Some lost to time (Love’s Labor’s Won). Those pesky “problem plays” (a distinction that I’m growing less and less fond of). And stuff that isn’t theatrical at all. Plus, I wanted to layer over it some kind of historical progression of his writing (we don’t know the actual chronology of composition, but we have some rough ideas).
And thus, The Periodic Table of Shakespeare was born…
Sorry, folks. No Coriolanus today. Last night, I had the pleasure of hosting a special screening of the film Cry Now, at the local theater. The film is co-produced and stars a former drama student of mine, Miguel Angel Caballero…
so that was a (relatively, for me at least) late night… but worth it as it’s always great to see someone local achieve something so few have.
We interrupt our Monday Shakespeare discussion for this (sorta Shakespeare-related) spiel. Friday night, I got to combine two of my favorite things: Shakespeare (duh), and film noir.
I’m a huge film noir fan, and in southern California, your best bet to catch some of ’em in the act is to head on down to the Egyptian Theatre in Hollywood, run by the American Cinematheque, around start of spring for their annual noir-fest. Called Noir City (the link is for the main festival held in San Francisco), and brought to you by the folks over at Film Noir Foundation, it’s a multi-day series of double features. This year, their 19th, they’ve programmed it a little differently: each night covers one year, and has an A-picture, followed by a B-movie.