Will you kiss it? (for him) (Flirt Tips from Markus Geers) (German Edition)

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The Festival draws about , visitors a year, its play season achieving a total attendance of more than , in , despite nine performances in the Allen Elizabethan Theatre being cancelled that year because of smoke. It has an aggressive diversity policy in hiring its acting company; it has launched a controversial program called "Play On! The Shakespeare here tends to be cutting edge, too. Pleuss thread into the play. This production is a musical in the sense that the characters reveal their emotional states in song, but it plays more like a rock concert with Shakespeare wrapped around it.

The opening act is the Designated Mourners, a band that, it turns out, is mostly comprised of characters in the play. They play for the Princess of France Alejandra Escalante and her women, all dressed in slinky red skirts, fishnet stockings, and aggressively high heels and platform boots. Dearmaddow, an English makeover of Don Armado played by Oregon Shakespeare veteran Richard Howard, is covered in scripted segments of sonnets , and playfulness.

Eighty-three years on in a town that orbits this company, the Oregon Shakespeare Festival is keeping Shakespeare in his place: Infections left him with poor vision and weak lungs, and a bout with tuberculosis landed him in a sanatorium when he was in his early teens. Patsy was from a broken home with an alcoholic father who, alone, was trying to raise her and her older brother. When times got particularly tough, her father would leave Patsy with his sister, Kate, in North Wilkesboro.

Dean was smart and determined. He used his stay in the sanatorium to get ahead in school as he pursued his dream to become a doctor, a pilot, and a minister: He saw himself treating people on weekdays, flying his airplane on Saturdays, and preaching on Sundays. And she was beautiful, physically and deep in her soul. The first time Dean saw Patsy, he determined he would marry that girl.

Patsy heard of this from a friend and thought, no way, he is too arrogant. Dean eventually won Patsy over gifts to Aunt Kate helped smooth the way. In , they had their first son, Dean Jr. Doctor was Dad's next calling. Through both careers, Mom maintained the cleanest and most organized home known to mankind.

OK, she was obsessive compulsive. First it was bells then decorative eggs and plates—hundreds of commemorative plates. While they were living in England, Mom took up brass rubbing, creating framed art from the ceremonial brasses on the tombs of medieval knights, bishops, noblemen, and ladies, including one Shakespeare character, Eleanor, wife of Gloucester, in Richard II Shakespeare himself references these memorials in Henry V: Mom did almost brasses.

Then she got into baseball autographs and teddy bears. One of her first and favorite teddy bears was Baron, a grizzly in a sitting position with paws that could give you a hug. As Mom entered end state in her eight-year experience with cancer—she refused to say she was "battling" cancer—Sarah flew from Utah her Air Force station at the time while I flew down from a journalism assignment in Washington, D. Sarah brought Baron with her. When she arrived in Charlotte, Sarah carried the teddy bear into the bedroom.

Mom died in December Dad had a severe stroke in February He survived and dedicated himself to rehabilitation, but he never regained full motor capability in his right side or his speech. He lived another six years until his body, trained to manage so many work-arounds, finally broke down.

He died in March Today is the final chapter of their lives, a weekend that was blocked out on my calendar even before I conceived of doing the Canon Project this year. The love of my life, Sarah, is in the seat beside me, and buckled into the backseat is Baron. At our destination is Dean Jr.

Deano, a caricaturist in Destin, Florida, whose work can be found on Shakespeareances. I hand the urns to my brothers. After John leads us in a short moment of remembrance, he and Deano shake the ashes out into the wind. Dean and Patsy return to the elements of the earth as a single entity. Part of their wish was that all three sons would be part of the moment. We didn't need any such prompting. We've always jumped at any opportunity to gather as a family.

I'm proud to say we are special because Mom and Dad were special. Despite all the moves, they provided us a comfortable, loving home where we were taught how to be polite and caring. Everywhere we lived became a base for exploring the region and its culture. Watching Mom and Dad interact with the world, we three sons learned to be respectful, tolerant, and courageous.

We learned how to give of ourselves, not just money, to assisting people in need and community causes. Watching Mom and Dad work in and outside the home, we understood what effort and achievement truly mean. Watching Mom deal with cancer and Dad deal with his stroke, we experienced resilience and grace in one spirit. In the way they treated us, we felt love and the privilege of trust. I learned how to cook directly from my Dad. I learned how to organize and design directly from my Mom.

Through both I fell in love with baseball. Music was a mainstay in our household. Mom and Dad loved opera and ballet. They dug popular music. They attended the theater. Through our parents, we learned to appreciate culture. I didn't come to Shakespeare from them.

I came at that of my own volition, unaware until I did so that they were fans, too. Edmunds while Dad was stationed in England, from my parents I learned Shakespeareances. We all spend the rest of this day together. We walk around the hallowed family grounds for awhile and then hang out at the hotel before going to dinner together.

John has three children. Deano has a stepson. During the course of my travels this year I will have spent time with each of the third generation descendants of Patsy and Dean. From Mom and Dad we learned the blessings of family, which has been passed on to their grandchildren. Did I say final chapter? She is now standing and watching a train rumbling past on tracks some feet away.

She could be counting the cars as a measure of hope that, surely, the train's end is near. While she sighs in exasperation, most of the other 50 or so people on the patio are laughing and clapping. The train keeps coming. The cast invites audience members to join them in forming their own locomotive snaking through the seating area. The cast resumes tap dancing. As much as five minutes have passed, and Mandley calls a halt to the troupe.

Finally, some dozen shouted lines later, the train's last car passes by. They have never liked Shakespeare. Dan McLeary, born and raised in Memphis, had a good gig as part of Shakespeare and Company in Lennox, Massachusetts, where he became an artist manager in McLeary knew that to make Shakespeare for everyone he would need to take Shakespeare to everyone, so he launched the Shout-Out tour last year.

Shine directed the company of nine actors and one dog in her own minute version of the play. Her goal, she tells me, is to keep the staging simple and the story moving. Last night I caught the show at Beale Street Landing overlooking the Mississippi River and with it an entirely new challenge in ambient noise: When we arrive at Wiseacre, Mandley and Keyes are figuring out where to line out the play space and arrange the seating on the patio, which has a stage. They decide to put the play space opposite the stage, which then becomes a second tier of seating.

The company creates a square, thrust theater with chairs, benches, and picnic tables on three sides and the small curtain backdrop on the other. The actors change into costume in the brewery restrooms and do a fight call. The titular characters Shaleen Cholera as Valentine and Nicolas Dureaux Picou as Proteus walk through their wrestling match at various speeds, and slapstick stunts involving Speed Mandley are tested in the space. The patio's benches are designed like wheelbarrows, their handles sticking into the aisles, so adjustments are made to their positions and the actors' movements.

This afternoon, his understudy fills in, Saban, an energetic beagle. Mandley has announced the play to the patrons watching college football on televisions in the bar. Almost all the seating in the patio is occupied by the time the play starts. Some family and friends of the cast are in attendance as are a few regular patrons of the company, but the show also has drawn people out from the bar.

Cholera delivers Valentine's moving soliloquy after his banishment to pin-drop silence. Otherwise, the production amps the comedy to a farcical degree all the way to an incredulous "What!? The outlaws comprise Tyler Vernon as a Mexican bandit with cigar clinched in teeth and Williams as a James Dean rebel in leather hat and biker jacket. When Valentine agrees to be their captain, he next appears as a prototype train robber in a cowboy hat, black mask, and black vest. Joining them for their last scene is Mandley as a pirate, with an eye-patch and crooked finger for a hook.

The cast constantly works the crowd with direct address. Michael Khanlarian as the Duke of Milan woos a woman in the front row while describing a woman he says he intends to marry. She takes a selfie, beer bottle in hand. Shine charged Archuleta with one guiding imagery for the song: I start noting the crowd.

As the play moves into the climactic scenes, one guy gets up from his bench seat and climbs onto the picnic table with beer in hand to get a better view of the rest of the play. After we strike the set and load up the van, Archuleta and I join Cholera and his girlfriend for a quick lunch. This is my second encounter with Cholera on the Shakespeare Canon Project: Another 50 people attend this evening show, many of whom are between the ages of children and young adult.

How did they get that steam locomotive into the house? Fitzsimmons is the curator and manager of collections and exhibits at the Stratford Perth Museum occupying an Victorian buff brick home on the outskirts of town. At one end of the exhibit is the front of a black steel train engine protruding through the wall. Fitzsimmons is showing me old photos and memorabilia, evidence of the extent of the railroad repair shops that dominated Stratford from into the s and spawned such cultural entities as choirs and bands.

She then refocuses my attention on locomotive No. And there it is, that train engine, installed just last week. The local railroad industry provided everything from machinists to musicians to help get Stratford Shakespeare Festival off the ground in The museum's exhibit devoted to Bieber is around the corner from the railroad exhibit.

An exhibit about the Festival occupies three rooms at the front of the museum. By mid-century, the nearby towns of Shakespeare and Gads Hill were established, and Stratford had divided itself into five wards—Avon, Falstaff, Shakespeare, Romeo, and Hamlet—which also became the names of their public schools imagine going to Falstaff school. Yet, bucking the railroad ensured Stratford's Shakespearean future. Beginning in , the town began purchasing land along the river to create public parks.

The proposal promised economic riches, but the town resisted, establishing the Parks Board in whose leader, Thomas Orr, set about preserving more land along the river. As the railroad's terminus was nearing, the city was giving birth to a Shakespeare festival specifically because of the park space available for a large, tented theater.

That open space is part of what enticed Tyrone Guthrie. Achieving such a status from the get-go was a formidable task, both financially and psychologically. Stratford accomplished just that, all due to the biggest name in Stratford Festival's history, Tom Patterson. After getting a nominal sum from the city council to pursue his idea, Patterson used dogged determination and a string of fortuitous connections to hook up with Guthrie and then meet with Guinness and convince him to sign on.

Patterson then generated support among initially skeptical townspeople. Once he got the momentum going, the town kept it rolling, even when finances fell short. Donations came in the form of children turning over their earnings from lemonade stands to the owner of a small construction company keeping his men building the theater's infrastructure even after payments to his firm dried up. Three days later, Guthrie and company began planning the season.

The town was overwhelmed with the influx of visitors: Homes became temporary hotels, church basements became restaurants. Stratford has no such problem today. The 32,peopled town serves some , annual visitors to the Festival with a full spectrum of lodging, restaurants, and boutique shops. Yet, downtown retains its quaint early 20th century look, the neighborhoods retain the town's rural community quality, and, of course, those lovely parks still line the river.

In , the Festival hired new leadership: Anita Gaffney as executive director and Antoni Cimolino as artistic director. Gaffney streamlined operations; Cimolino honed the focus of the artistic program, formatting play selections 12 in all to fit into a single overarching theme and initiating the Forum, a season-long series of audience programs paralleling the productions, making the Festival a more all-encompassing destination.

Along with their obvious leadership skills, the two directors have something else in common: Cimolino came up through the acting and directing ranks; longtime patrons remember him playing Romeo in Gaffney, who joined the company as a publicity assistant in , rose through the management ranks. Both have long experience with the audience and the community, as well as experiencing the leadership that came before them.

Her roots in the company go back much further than her first day on the job 27 years ago. Her father was Oliver Gaffney, the local builder who kept construction going on the theater without pay in And he has been much praised for that. The Festival has always been something revered in my family. So they did it. When I first plotted my itinerary for the Shakespeare Canon Project, certain theaters, companies, and communities were on my priorities list, but the only play on which I set a condition was Julius Caesar: I wanted to see that one in Canada.

So, it was north of the border we headed to visit a theater company and community that was on my must list, too: Stratford Festival in Stratford, Ontario. There I encountered, as expected, stellar acting and high production values plus, in this particular instance, an Elizabethan setting for Julius Caesar. Director Scott Wentworth draws on the Renaissance view of the classical world as his designer, Christina Poddubiuk, combines Elizabethan doublets and ruff collars with togas and Roman helmets.

For his staging of the battle at Philippi, Fight Director John Stead has the two armies collide in slow, choreographed movements with pikes pointed up or down in various angles, a tableaux that could have come from Froissart's Chronicles. Shakespeare, he notes, went to great lengths to set the most famous story from ancient Rome in his own time, including frequent references to the clothes and class-conscience attitudes of Tudor society. Was he a hero? Was Caesar a despot or was he the savior? Upon settling back into their seats, they hear a recorded acknowledgement to the indigenous people who once occupied this land.

Wentworth loves national anthems. Wentworth checked in with a buddy of his who is indigenous and an actor in the company. Nevertheless, the Caesar in this play, in line delivery and even in facial expressions, seems modeled on Trump. The irony is that a woman is playing the part, Seana McKenna in her 27th season with the Festival. Her Caesar bristles at the slightest notion of an insult even when none is intended. Her Caesar is vindictive, purposely avoiding Cassius when the nobles fetch Caesar to the Senate. Her Caesar fixates on his own qualities, such as his constancy.

Notably, the mob that tears Cinna apart comprises only women, Wentworth citing the violent mobs of women during the French Revolution as his inspiration. Other than the plebeians, though, the named characters are not re-gendered; the women are playing men. He never, ever says that. Given her contextual portrayal of Cassius, the woman behind that portrayal does react to Brutus constantly crossing Cassius during the conspiracy and its aftermath. He knows the right moves to make. Having headed West, I am seeking an answer to the great question of my current existence: Is Los Angeles a Shakespeare town?

On my first Canon Project foray into Southern California in June, I heard a common refrain among people in and out of theater: San Diego is a Shakespeare town, Los Angeles is not. Even as I visited Shakespeare companies in Los Angeles and engaged with enthusiastic fans at their productions, most actors and patrons conceded the city to be more film-centric than theatrical, and its theatrical bent more modern than classical. On this return trip to Los Angeles, I endeavored to explore that notion further, including scheduling a visit to the Huntington Library, a center of Shakespearean scholarship unfortunately, as reported in a previous post, I had to cancel that visit.

This morning, Chalsma sends me the photograph showing the audience lighting the stage with flashlights and cell phones. We are a Shakespeare City, without a doubt. For more surety, today I venture for the first time into the mystical lands that in some ways shaped my coming of age: That heritage goes back in part to Will Geer, who debuted as Pistol in The Merry Wives of Windsor on Broadway in and became a stage, radio, and film star through the s. In the early s, after Geer was called before the U.

With his wife, actress Herta Ware, Geer moved to Topanga in and created his Theatricum Botanicum, combining his loves of gardening and theater and creating a venue where other blacklisted actors and musicians could play. Geer eventually found work on the more politically forgiving New York stages and was a regular at the American Shakespeare Festival in Stratford, Connecticut.

In he was a star again playing the patriarchal grandpa on the long-running TV series, The Waltons. Friend Joan, wife Sarah, and I drive past the traffic jams feeding Malibu Beach on this last day of summer and ascend into the Canyon. We brunch at the Inn of the Seventh Ray, which serves exotically healthy cuisine in a meandering dining room amid trees, a babbling brook, and canyon. We then drive a bit farther through the town of Topanga, seeing vestiges of its hippy heritage, and reach Theatricum Botanicum.

The tree-covered grounds with wood service buildings, home-made signs, a clearing filled with tables, and a festooned bridge reminds me of church retreat camps in my childhood. The theater itself is built into a crease in the canyon folds, a steep, seat amphitheater cascading down toward a large wooden stage with a wood-board building to one side that looks like it was moved here from an Old West movie lot.

Behind the stage, a forested hill rises to the sky, with stairways and paths winding into the woods from which fairies emerge. To the left, the setting sun engoldens a neighboring ridge, and to the right a dry creek bed and partial path disappear into thick vegetation. California sunshine beams from their expressive faces. The elder lady with a wide-brimmed straw hat perched on her silver hair is Ellen Geer, the daughter of Will and Herta.

Even before I start my interview with them, Ellen throws down the gantlet. Theatricum Botanicum started its existence with Shakespeare for a couple of key reasons, she says: So, is Los Angeles a Shakespeare city? We do one to two, sometimes three, sometimes four Shakespeare a year. My conversation with the Geers inevitably comes around to the fact that Los Angeles is the film capital of the world. I point out that auteurs have become the true stars in cinema over the past 50 years.

I think back to the last few evenings at Griffith Park where 2, to 3, people filled a hill to see Shakespeare. Tonight, the winding California Highway 27 will be lined with parked cars for a mile above and below the Theatricum Botanicum entrance. This is not an easy place to get to, but more than people will squeeze into the amphitheater to see Shakespeare.

If not a blockbuster, Shakespeare in L. David Melville is on his hands and knees. He's inspecting the cables running across the ground from the stage to the light and sound boards halfway up the hill. This is not a good sign. The hill sloping down to the stage already is covered with blankets, lawn chairs, and picnicking people a couple hours before showtime.

On the perimeter are the rocky enclosures that housed bears when the Los Angeles Zoo occupied this site from to One of the preshow announcements reminds people that climbing on those rocks is illegal. So is consuming alcohol in the park. People also are advised to watch out for wildlife, including deer, P a mountain lion that roams the 4,acre park , and fairies.

Before a performance of A Midsummer Night's Dream a couple nights ago I saw a fairy in the audience, a something guy with wings strapped to his back and a big leaf on his head. He was not a member of the cast or crew; he was there to watch the play. Melville is checking connections on the stage. He is the managing director of Independent Shakespeare Company, which he co-founded in with his wife, Artistic Director Melissa Chalsma.

Melville played Reynaldo, Chalsma understudied Ophelia. While the two leads were beginning their infamous romantic relationship, Chalsma and Melville were flirting backstage. This is the 15th anniversary year for the company's summer festival that started in Barnsdall Park and, outgrowing the capacity there, moved to Griffith Park's Old Zoo in Chalsma directed the festival's Titus and Midsummer this year, and Melville is playing Bottom and Titus, the latter as a last-minute fill-in.

Before seeing Titus last Thursday, I asked him if he found any common thread between the two characters. Playing Titus, he says, "there are some moments I catch myself sounding like Bottom. It's interesting that Bottom is an amateur who would like to be a tragedian, and I'm an actor playing a tragic role interpreting [Bottom's] interpretation of a tragic actor. Melville delivers Shakespeare's lines as non sequiturs and adds some character-driven ad libs, such as referring to "Snug the painter, joiner, whatever it is you do. Now less than an hour from curtain, Melville is a managing director trying to rescue the show.

The tapestry of blankets has extended well up the hill, and every patch of bare grass is filled in with more people arriving. Using a technique I learned as an undergraduate at the University of Missouri Journalism School, I estimate attendance tonight at about 3, people. Xavi Moreno loves this crowd. In his eighth season with Independent Shakespeare Company, he's playing Lysander. The year-old Los Angeles native made his theatrical debut as Baby Jesus when he was 2 months old. He says theater saved his life growing up in Boyle Heights during the "decade of death" when that East L.

Shakespeare was just an English class he never liked—back then he called it "smart English" that he always feared—until he saw an Independent Shakespeare production of The Tempest at Barnsdall Park. The next year, he came to Griffith Park to catch the company's performances. The following year he was with the company. He likes to arrive early and roam through the crowd talking with people and checking out their spreads predominant foods, he notes, are sushi, rotisserie chicken, ceviche, and cheese plates.

During The Taming of the Shrew four years ago when he was playing Biondello and waiting for his entrance through the audience, he encountered a high school kid hanging off to the side. The boy got nervous: A couple nights later, Moreno encountered the boy again; he had brought his girlfriend and they were enjoying a picnic of chips and soda. Moreno returning the boy's greeting assured the nervous girlfriend that they didn't need a ticket. This was for them.

The light board, which is supposed to be on the table on the hill, is now sitting on the stage. Melville is stooped over it while one of the technicians looks on. My consolation is that I saw the play Friday night, so it's in the Canon Project book. But wife Sarah and best friend Joan are here tonight. I so want them to see this production. I'm sitting by the stage with Julia Aks, who plays Helena, and I point out Sarah sitting in a lawn chair about halfway up the hill. Aks and I wave, Sarah waves back.

Friday night, when Aks spoke Helena's line, "We cannot fight for love, as men may do; We should be woo'd and were not made to woo," she got a shout of approval from clusters of young women in the crowd. The response so surprised me, and Aks' thoroughly modern Helena played with field-and-track-star athleticism was so startling comic, I arranged to interview her tonight. She says she, too, was surprised by the shout-outs to her "woo" line, and we talk further about the role of Helena in the year of MeToo and timesup. Especially troublesome is her spaniel speech when she tells Demetrius, the man she has a crush on but who has a crush on Hermia:.

I am your spaniel; and, Demetrius, The more you beat me, I will fawn on you: Use me but as your spaniel, spurn me, strike me, Neglect me, lose me; only give me leave, Unworthy as I am, to follow you. She tells me that at one performance, a vocal group of high school girls was rooting for Helena until that speech. Then they turned on her. Melville comes over to fetch members of the cast, who follow him down the hill and beyond the stage. We're past show time. The crowd patiently waits.

Outdoor Shakespeare is uniquely popular around North America. Of 34 plays I've attended so far this year for the Shakespeare Canon Project, this is my 18th outdoor show. This despite the venues being fraught with uncertainty; there's a reason that Shakespeare, who wrote his plays for outdoor performances, included weather references in almost all of them. Nevertheless, outdoor performances just as often result in memorable magical moments.

We discussed the Griffith Park vibe, such as having a real moon to point to or hearing coyotes howling in the distance on cue. We also list elements the actors must contend with, man-made airplanes flying overhead and natural. Smith recalled that one night a bee flew into Melville's mouth after Bottom played Pyramus's death scene. The moment turned into comic gold as Melville's Bottom's dead Pyramus jumped to life yet again, Smith said.

Tonight's contending element is the City of Los Angeles. The power grid is experiencing intermittent shortages affecting Griffith Park. Melville determines that if he can reduce the amount of electricity being used in the production, he can salvage the show. Everything "nonessential" is turned off or unplugged: Stage lights are limited to the front rig, just enough to light the stage no lighting effects this night.

Otherwise, the jam-packed hillside is now nearly pitch black. The show starts about an hour late. The actors take advantage of the disadvantages. For their first Athenian woods scene, as Lysander and Hermia Katie Powers-Faulk enter through the audience, Moreno has strapped a miner's light to his head. Once on stage, Moreno keeps his headlamp on as his Lysander speaks his intensive passages of love to Hermia. She is blinded more by the light than his love and finally says, "Would you turn that thing off please.

In Friday night's performance, he complained that all us humans look the same to him. Tonight he complains that he can't find the Athenian. I'm looking for an Athenian. Despite these circumstances, I'm still concentrating on the audience's relationship with Helena. The moment I've been most keenly watching for comes as Helena chases Demetrius Jose Acain onto the stage for the scene containing the spaniel speech.

The stage lights begin flickering. Aks starts her spaniel lines. She gets only a couple of words in when the stage lights go totally off. Aks continues her speech, despite the crowd's "oh-no" murmurings. Then, audience members begin shining flashlights and cell phones toward the stage.

Aks pauses in her speech and shouts, "Light me up, Los Angeles! In this Milky Way glow, the scene continues as Oberon and Puck introduce the magic flower. In less than five minutes the stage lights come back on. They flicker again later in the show—and patrons ready their lights and phones—but the play makes it to the end uninterrupted. After the show, I greet Smith. Wearing Oberon's shimmering silver, lace-trimmed shirt and top hat with glittering cattails sticking up from the brim, he resembles a New Orleans Mardi Gras krewe king.

He replies to my "hey" with a shake of his head and eyes wide with awe. After a brief talk with Smith, I move on to Aks. This entire year has been filled with serendipity, charming the Canon Project with a mystical dimension, even when taking into account Sarah's neurological condition and seizures. After her daylong seizures Friday, Sarah got out and about yesterday with our hostess, Joan, while I spent the day immersing myself in the culture and community of Long Beach Shakespeare.

I learn from Joan this morning that they watched Them! One of my all-time favorite films, and I missed it! Oh, the sacrifices wrought by the Shakespeare Canon Project, I ponder as Joan repeats line after line from great scene after great scene it's one of her all-time faves, too. Sarah hasn't gotten up, however, and as noon approaches, Joan and I work out alternative plans—including, if I have time, taking a short detour to pick her up.

One last check on Sarah, and I head off for Long Beach alone. Our expedition started on a boat. Ominous, I know, but the Margaritaville remained in its berth as it is not yet seaworthy. In fact, with no power in the kitchen this morning, Rydell had to return home to finish fixing her Portuguese Eggs for our brunch. As we dig into the delicious casserole of cheese, sausage, and a hint of lemon flavor, we talk Long Beach, theater, and Shakespeare. Rydell was born in Long Beach and never lived anywhere else; but what a zest for adventure she has, starting with her attempt to join the circus when she was a child and building a raft to float down the Los Angeles River to the sea.

She has always had a love for theater and currently serves on the Long Beach Shakespeare board. Leach and her husband, Tim, are also lifelong Long Beach residents. Dana worked in theater and video production before she became a teacher. Tim is a Hollywood makeup, prosthetics, and props artist.

Legacy , and The Santa Clause 2. One of the 6-foot toy soldiers from that last movie stands in a corner of their dining room, left over from a party at the theater. I hear this sentiment echoed by others, including Joan, who loved going to Long Beach when she and her ex-husband had a boat docked here. Helen Borgers sought to fill that void. She grew up in Long Beach and shared her two great loves with the city: When the company got a permanent home for its productions, Borgers changed the name to the Long Beach Shakespeare Company.

That initial three-month commitment continues for both Dana and Tim. When Borgers died at age 60 last November after a short illness click here for Shakespeareances. Joseph tells me that while he has been trying to build an acting career for the screen, friends and teachers suggested he do some Shakespeare for the skills-building experience.

He picked a doozy for a debut, but he relates how his personal life is currently mirroring that of his character, the Trojan prince who has a longstanding crush on Cressida. He finally enjoys its consummation only to have her immediately sent off to the Greeks in a prisoner exchange where he witnesses her faithlessness. The actor talking about his own romantic trials looks as baffled as Troilus the character sounds in verse. Joseph may be new to Shakespeare, but he delivers that verse with soul-stirring truth and adroit skill.

Swearingen perfectly grasps Cressida's mental state in her courtship with Troilus, portraying the woman's intelligence and cautionary nature at war with her glisten-eyed desire for this man. These two actors' emit mesmerizing chemistry. Cutts, who plays a casually hilarious Ulysses in addition to helming the production, sets the action in traditional Trojan War costumes designed by Dana Leach , with the Greeks in blue skirts, the Trojans in brown. It may be an anacrhonism, but the looped lovers fit the tone of Shakespeare's verse.

I leave the theater minutes after 4 p. Sarah is ready to go, too. Joan Sontag and I became friends while both of us were attending the University of Missouri-Columbia and living in the same dormitory complex. One Sunday evening when the cafeteria was closed and the only food available to us was at a small snack counter downstairs, I happened to run into Joan. I would have said no, too.

It was just our way to never get into a romantic or even a casual sexual relationship. We took a spring break trip to Florida together. We often went dancing at clubs. After we graduated she moved into my apartment. She was hot and still is , and evidence aside from my mirror indicated I was a turn-on, too, but the entire time and in every instance, we remained platonic friends. In fact, when she was living with me she was engaged to a U. Joan is also a journalist. When she was a reporter with the Associated Press, I used to appreciate her work from afar when it would come across the wires while I was working as a newspaper editor.

So forgive her calling Sir John Falstaff "that guy. Now she intends to join us when we see Dream there on Sunday. Sarah and I are staying with Joan for our current trip to Los Angeles. Do I give her wine or flowers as a thank-you gift? I settle on toilet paper, not only replenishing what we use but she'll think of us every time she pulls on a roll. Her hospitality is saving us considerable money, and, perhaps more importantly, it's given Sarah a safe place to land—and me, too.

Sarah has had a bad week. She had even regained her enthusiasm for getting back to work after two months' absence. Sunday night when we got back home we capped the weekend with a dinner date at our favorite restaurant. Monday, however, when I was supposed to drive her to her office, she didn't get up until midmorning and almost immediately went down with a headache. It knocked her out until late in the afternoon. She was chipper when she got up on Tuesday, had an egg, bacon, and tomato breakfast, but then went down again, this time for more than eight hours.

With an early flight to Los Angeles the next morning, I ended up packing by myself she might be allergic to me, but she also seems allergic to packing—I've had to pack for her the last three trips. I also booked an appointment with her primary care doctor for next week: When I told her what I'd done, she agreed. She was fine on Wednesday's cross-country flight, but was a bit sluggish yesterday before we picked up Joan in downtown L.

Today, things have really gone awry. She insists she is just tired. She assures me that napping in the car is all she needs, but her eyes are telling me a seizure is at hand. If that is her intention I will support that, even if it proves a liability to my work. Sarah sleeps or at least has her eyes closed all the way to San Marino. Just as I turn off the engine, Sarah opens her door and throws up. I text my regrets to Tabor and then text Joan that we are heading back to her home and would not be meeting her for lunch.

She is disappointed, but I know she is in the early stages of a seizure, if not already an hour into it. With no alternative plan in place, I have no choice but to get her back to bed. Sarah sleeps as I make the hourlong return trip, frustrated, worried, angry—at Sarah, at God, at myself: I know I should always heed my instincts, and I didn't this time. Sarah continues to act as if everything is normal. Now she has become "a liability": I have no means of making up the Huntington visit for the Canon Project.

After we get back to Joan's place, Sarah stays in bed all day. I go alone tonight to Griffith Park to continue my visit with the folks at Independent Shakespeare Company. Sarah is still in bed when I get back. I get stern with her, expressing my helplessness while understanding her helplessness, but I insist that if nothing else she needs to eat. I am certain Sarah is not suffering from dementia, but I point out that her current condition is affecting her behavior and independence the same way dementia would.

It hurts to say this as it's always been one of her biggest fears, to follow in her mother's footsteps; but I hope it helps her better understand her situation. I no longer have a clue of what to do for her. One thing I do know: When it comes to these two women, I've been blessed.

Sarah loves corn dogs. She likes waffles, too. Only after we're seated do we see what's on the menu: When I got home from Chicago this past Monday, Sarah was down to pounds. My goal for her was pounds, hers was She got down to Now, she looks like a skeleton, eating nothing more than one or two Kind snack bars a day and occasionally one of the small tubs of soup I prepared for her the freezer was still stocked when I got home after my day trip.

Her seizures bring on headaches and dizziness, and with those nausea. A trash can sits by her side of the bed, and we carry bags in the car at all times when she had what we now know was her first seizure, I sacrificed my Blackfriars Playhouse stocking cap while taking her to the emergency room.

I worry that her not eating is contributing to her condition—at least it's hampering her overall well-being. My goal now is to get her up to Each of our first two days in New York I grabbed a bagel, pastry, and apple from the hotel breakfast bar to take up to her in the room she sleeps in long after I get up. Sated, we continue our walk to the A. To conflate or not to conflate—to say that question is a heated debate in Shakespeare circles is an overstatement because the Henry VI plays are so underproduced in the first place.

Shakespeare plays containing Roman numerals tend to be box office duds. Having seen them performed individually as well as in conflations, I hold this opinion, too, even if Part One is like launching a dish of spaghetti at the wall and watching the mess take shape. Part Two , on the other hand, is among the classics of the canon. It includes remarkable love poetry between Margaret and Suffolk; a grieving Margaret cuddling the severed head of her lover in the presence of her husband, King Henry, and the court; and the Jack Cade rebellion, which has one of the most famous lines in all of Shakespeare: NAATCO was begun in with a mission of providing opportunities for Asian theater artists otherwise blocked by institutional racism, a prejudice especially prevalent in casting for classical works.

In our meeting at Cafe Bene near his home in Queens, Brown-Fried, who is not Asian, describes how he had to convince Katigbak that he was, in fact, Jewish and could legitimately stage the play with an all-Asian cast. The award-winning production went on to a revival at the Public Theater, so Katigbak asked Brown-Fried what else he would like to do. He suggested Henry VI , and she pounced on the idea. He narrowed his focus on the character arcs of York and Margaret as well as the titular King Henry and, to a lesser extent, Humphrey.

While he may not have had much fat to trim, he leaves us with the choicest pieces.

Full text of "The Moving Picture Weekly ()"

Nevertheless, we get a well-paced, fully developed story line through the play's most important moments: Humphrey with Eleanor; Margaret with Suffolk; the court scenes establishing who should be regent of France and, later, of Ireland; Eleanor arrested and the portion of the subsequent hawking scene at St. The Mezzanine Theater is a black box space configured into a seat arena theater. Set Designer Kimie Nishikawa covers each end of the red floor with black confetti that, over the course of the show, gets scattered across the stage and into the seats and even out into the lobby.

Two portable stairs serve as structures, such as city walls and the throne. Brown-Fried had to abide by one rule: Rajesh Bose is a force as York, even as he warily observes the others in court and quietly plots his way to the crown. Kakkar is a wonderous Margaret, a character equal to Cleopatra at the top of the pantheon of Shakespearean women, ranging from her sexual desires to her participating in court intrigue and proving a fierce battlefield commander. We come away sated. It was a juxtaposition I did not see coming when I worked out my schedule: The former could have been written for , the latter many believe is totally unsuitable for Or for , for that matter, when George Bernard Shaw described it as "altogether disgusting to modern sentiments.

Maybe even Shakespeare believed his Taming of the Shrew was no longer appropriate: I happen to be one of many others who appreciate The Taming of the Shrew as a true love story with a keen message for couples today. Petruchio, Shakespeare, or You? If you fall back on feminist underpinnings for her behavior then you should also hypothesize on sociopscyhological factors that shaped Petruchio's misogyny. The fact is, Shakespeare neither gives us a backstory nor does he care. Both Petruchio and Katherina are flawed individuals for whatever reason at the start of the play.

Yet, with Katherina, Shakespeare draws one of his most intelligent characters of the canon, and he gives Petruchio a humble self-awareness and unwavering honesty we seldom see in his male characters a prototype for King Lear 's Kent. Petruchio adores Katherina's spirit, Katherina gains from Petruchio lessons of grace and trust.

At the end, both ride off together—significantly wealthier through mutual effort—into a marriage of mutual respect and love. David Rice and his wife Alison C. Vesely were among those who had trepidations about staging The Taming of the Shrew today in its original form. Coal magnate Francis Stuyvesant Peabody built Mayslake Hall in and died shortly after moving in. The family sold the estate to a Franciscan order, which ran it as a retreat until selling it to the Forest Preserve District of DuPage County in With restoration of the mansion in , First Folio expanded to an indoor winter season while still staging Shakespeare outdoors every summer.

The company has produced The Taming of the Shrew twice before. Vesely directed a traditional version in , and she and Rice codirected an Old West—set production in A year after that success, Vesely broached the idea of doing something similar with The Taming of the Shrew , another play they thought needed fixing, "not necessarily as much structural problems as sociological problems," Rice says. In fact, these characters, though speaking the original verse, become totally different characters than Shakespeare's via the lyrics of Rice and Lydia Hiller set to music by local composer Christopher Kriz.

Shrew'd is set in a s Chicago jazz club run by Baptista George Keating , a widower and single father struggling to raise his daughters, Kate Sierra Schnack and her younger sister Bianca Emma Rosenthal. Kate is not a man-beating hellion here: Baptista decrees, inexplicably, that a husband must be found for the elder before the suitors have access to the younger. So when Petruchio Christopher W. Rather, Petruchio learns how to court Kate with respect and authentically assist her in realizing her dreams.

Notably, they do not get married in this production, but they may someday.

Bianca and Lucentio Tony Carter do get married as in the original. But it's followed by an uncomfortable pause, a space to realize that these days, neo-Nazis are in everywhere America. This production pursues a personal outcome as much as a social one. One of the secrets was that we were partners in everything we did.

We were partners in this theater, we were partners in our marriage. That was the story we were writing, about two really strong-willed people who realized that it could be really fun to be a partner with somebody as strong as you rather than be dominated by or dominating them. Vesely died of ovarian cancer in November click here for Shakespeareances. He also specifically wanted a female director Johanna McKenzie Miller.

Three core company members of American Players Theatre in Spring Green, Wisconsin, sit at a conference table in the theater's offices to talk about the contemporary dramedy they are about to open this weekend. Melisa Pereyra plays Isabella, a novice nun who pleads for her brother's life to the despotic ruler who has sentenced him to death for having premarital sex. Marcus Truschinski plays that despotic ruler, Angelo, wearing an ultramoral veneer as he demands that Isabella have sex with him in exchange for her brother's life even when she relents—or so he thinks—Angelo has her brother killed—or so he thinks.

James Ridge plays the Duke who supposedly leaves on a sabbatical and names Angelo to rule in his place but actually stays in the city, disguised as a monk, to observe Angelo's governance. This contemporary dramedy is William Shakespeare's Measure for Measure written around Without putting anything on this play, it speaks directly into Measure for Measure has been one of my favorite Shakespeare plays from the moment I read it and saw a Royal Shakespeare Company production starring Michael Pennington as a genial Duke and Jonathan Pryce as an uptight evil Angelo.

Taken together, they track four decades of sociopolitical change: Yet, the play has never seemed to gain traction with the general public. The complaint I've heard so often in talkbacks and discussions—and usually from women—is that a modern Isabella would never choose her virginity over her brother's life.

That last no longer seems such an anachronism. For Isabella, virginity is a religious ethic and thus a personal choice. Pereyra, a native of Buenos Aires, Argentina, who grew up in a Mormon household, gets that. That is put into the psyche of little girls all around the world. During that production's run, Idaho's U. Senator Larry Craig, a vociferous opponent of gay rights, was arrested on charges of lewd conduct in a men's restroom at the Minneapolis—St.

The hypocrisy Shakespeare depicts in the play hewed to the headlines of that day. As Brainin was prepping this American Players Theatre production, Measure for Measure again landed with uncanny relevance as men with "unsoil'd name" leading "austere" lives, such as Bill Cosby, Minnesota's U. For Brainin, though, the play's timeless lesson is one of good-versus-bad governance.

This morning, in the same conference room where I met with her actors yesterday, Brainin has carved out an hour of her opening day schedule to talk about a work she obviously admires. The play opens with one example of bad leadership, a Duke who shuns contact with his people and fails to fully understand the ramifications of his laws. His is head-in-the-sand governance, Brainin says. Brainin sees America caught up in a combination of these governing extremes. Claudio's arrest is presented on stage, as baton-wielding security forces wearing casual shirts, jeans, and bulletproof vests —the visual connection with ICE is unmistakable—aggressively pull the couple apart.

Claudio is put on display before being taken to jail; Juliet and her about-to-be-born infant are to be "disposed…to some fitter place, and that with speed. Despite such headline—mirror images surrounding Angelo's governance, Brainin says this play is the Duke's story, learning the qualities of leadership through his exposure to tyranny and arbitrary bureaucracy and to redemption and forgiveness. It's his arc that takes us to one of the most enigmatic endings in the Shakespeare canon—one that has bedeviled many a director. The Duke, out of nowhere, proposes to Isabella, but she never answers, nor does the text give any hint of her reaction.

I've seen 14 staged endings of this play, every one different. Isabella demurely accepting the proposal, Isabella accepting his hand fearing the consequences if she doesn't, Isabella running back to the convent, Isabella angrily stomping off, Isabella giving the Duke a WTF look. Brainin turns the Duke's proposal into a contextually wider frame of reference. The Duke positions behind him his leadership team—Escalus his advisor in this production played by Gavin Lawrence, who is black , Varria his administrative assistant a role expanded from a single-scene character and played by Carolyn Hoerdemann , and the Provost Alejandro Cordoba —before addressing Isabella.

More than a marriage proposal, it's an invitation to become part of his rule. Pereyra stands up and extends her hand.

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