![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
neadodsI have committed extravagance. I bought a purse on Monday because the one I brought - the only reasonable purchase in this story, one from a yard sale - wasn't as good as I thought it would be. So I bought a better one, and it is a better one.
But it's not as nice as the one I saw in Art in the Park. By the guy who made the (smaller) purse I've carried at work since I bought it last year. The purse that matches the tote that I bought a couple of years ago.
I don't need two purses. I am trying to cut costs down.
Y'all *know* the end of this story already.
Big discussion about MEASURE FOR MEASURE at the breakfast table this morning; the other folks staying here didn't like it. I did. Not the most incandescent production Stratford has ever put on, but a competent, if not exceptional, production of the play. I liked Thom Marriott as the Duke - nice character work there, between his Duke and his Friar - and it was interesting to see Jonathan Goad none the worse for having been burned alive three hours earlier reincarnated as the sort of upright prick who'd just lynched him.
This was a modern urban production which started in a raid at an S&M dance club and ends inconclusively - we're left with the impression that Isabella is just as horrified by the Duke as she was by Angelo, while the Duke is obliviously happy at having "fixed" everything. I saw the whole thing through sterio-opticon vision though; at the same time I was watching it, I was thinking how great it would be to have a modern production cast as the sort of socio-religious tension going on in the States right now between dominionists, moderates, and progressives.
Next up is AS YOU LIKE IT in two and a half hours, in the Festival Theater just steps away from here. It's been getting great word of mouth, and I've already picked up the CD, on the basis that I will never see it again if I didn't. (The music is all by Barenaked Ladies. Any fans out there? The CD's about $16 US, hit me up in comments.) I may come back here to comment while the impressions are fresh, unless the sunshine by the river is too irresistable.
Along with the debate about the merits of Measure this morning at the breakfast table was an early, undercover announcement of next year's lineup, which is to be announced with great fanfare next week. Only four must-see plays for me; my boss will be pleased that I might take only a few days off instead of a full week. But I'm not missing Coriolanus (which I've never seen); Twelfth Night (which I've only seen 1 1/4 bad productions of); Much Ado About Nothing (which I adore and will be done to perfection here); and Don Juan (I love Moliere). On the other hand, they would have to pay me to show up for Duchess of Malfi.
But it's not as nice as the one I saw in Art in the Park. By the guy who made the (smaller) purse I've carried at work since I bought it last year. The purse that matches the tote that I bought a couple of years ago.
I don't need two purses. I am trying to cut costs down.
Y'all *know* the end of this story already.
Big discussion about MEASURE FOR MEASURE at the breakfast table this morning; the other folks staying here didn't like it. I did. Not the most incandescent production Stratford has ever put on, but a competent, if not exceptional, production of the play. I liked Thom Marriott as the Duke - nice character work there, between his Duke and his Friar - and it was interesting to see Jonathan Goad none the worse for having been burned alive three hours earlier reincarnated as the sort of upright prick who'd just lynched him.
This was a modern urban production which started in a raid at an S&M dance club and ends inconclusively - we're left with the impression that Isabella is just as horrified by the Duke as she was by Angelo, while the Duke is obliviously happy at having "fixed" everything. I saw the whole thing through sterio-opticon vision though; at the same time I was watching it, I was thinking how great it would be to have a modern production cast as the sort of socio-religious tension going on in the States right now between dominionists, moderates, and progressives.
Next up is AS YOU LIKE IT in two and a half hours, in the Festival Theater just steps away from here. It's been getting great word of mouth, and I've already picked up the CD, on the basis that I will never see it again if I didn't. (The music is all by Barenaked Ladies. Any fans out there? The CD's about $16 US, hit me up in comments.) I may come back here to comment while the impressions are fresh, unless the sunshine by the river is too irresistable.
Along with the debate about the merits of Measure this morning at the breakfast table was an early, undercover announcement of next year's lineup, which is to be announced with great fanfare next week. Only four must-see plays for me; my boss will be pleased that I might take only a few days off instead of a full week. But I'm not missing Coriolanus (which I've never seen); Twelfth Night (which I've only seen 1 1/4 bad productions of); Much Ado About Nothing (which I adore and will be done to perfection here); and Don Juan (I love Moliere). On the other hand, they would have to pay me to show up for Duchess of Malfi.
