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.
OK, so like I’ve been saying, I’ve been dramaturging for the Camarillo Skyway Production of Much Ado About Nothing (as well as wearing some homegrown mutton chops and a really cool waist-coat as Antonio).
[we open a week from tonight. am I nervous? did Shakespeare write blank verse?]
But as a part of my dramaturgical duties, I like to share stuff with the cast and crew. And while searching for such goodies, I came across:
Today, another break (this one post-inaugural) from Pericles:
As many of you know, I’ve gone back to school (part-time) to get my Masters; I’m in the midst of my fifth course, now, “Shakespeare” (I figured I wanted something in my wheelhouse given rehearsals and the run of Much Ado coming up…), and a month ago, I posted my “20th Century American Fiction” paper where I linked Kevin Powers’ Iraqi War novel The Yellow Birds to Hamlet…