These are so few and far between now that they’re older, I must post them when they appear!
My daughter was convinced to stage manage her college theatre production because she would share the duty with a friend as co-managers. As the weeks of rehearsal went by, we didn’t hear much about the co. As they approach production this week, they’re in something called “cue to cue,” which is apparently a grueling amount of work.
“Weren’t you supposed to have a co-stage manager?” I asked.
“Funny story,” she said, “turns out she had an operation on her knee. So she, like, basically can’t move.”
Now, you might think you know me, and you might think my following line as a Dad indeed had to have been, “Tell her that’s not what break a leg means.”
But that’s not what I said! Mostly because I thought of it too late. What I said was this. I took the Facetime call from my wife’s hand, turned the screen to face my geeklet, and said, “Well, you tell her that in the 1935 Max Reinhardt film adaptation of A Midsummer Night’s Dream, a 14yr old Mickey Rooney played Puck with a broken leg and had to be wheeled around the set!”
I got back a blank stare. “Why,” she said, “do you just know that off the top of your head?”
There are many Shakespeare movies that I know about, have written about, have seen screenshots and clips of. But sitting through all of them is a challenge for many reasons. I’m slowly chipping away at a very long list. Happily, I can now move a certified classic to the WATCHED list.
Max Reinhardt’s 1935 production of A Midsummer Night’s Dream deserves its place in Shakespeare Film history. It picked up two Academy Awards (on four nominations) and featured a cast of names still known today – James Cagney, Olivia de Havilland, and Mickey Rooney to name just a few. Watching it now is a weirdly nostalgic experience for a Gen Xer like me. As we get to the big hysterical finish, all I could think of was how much it reminded me of watching the Three Stooges or Little Rascals. I can’t quite put my finger on it, but if you remember those shows (even if you watched them with your parents or grandparents!), maybe you’ll see what I mean.
Let’s talk about dreams for a second. They’re used in metaphors way too often. “Oh, this new job is a dream!” We use dream to mean “the ideal thing I wanted.” Not that. I mean real dreams. Real dreams to me are more like, “Nothing makes sense, and yet I’m oddly ok with all of it. Why am I suddenly back in high school, why are my coworkers here, why is there a freestanding toilet in the middle of the auditorium stage?” While you’re in the dream and not asking any of those questions, it all seems normal. Only after you step out and wake up do you think, “Well, that was weird.”
When I thought of that analogy for this movie, I intended it to be negative, but why not make a Dream movie that feels like a dream?
Let’s Make This More Visual
I’m sure many of us have seen productions of The Winter’s Tale, famous for its “Exit, pursued by a bear” stage direction, featuring no bear.
Not so fast! The forest of Athens seems to be home to actual bears now. My best guess is that somebody spotted Helena’s line, “No, no, I am as ugly as a bear; For beasts that meet me run away for fear:” and thought, “Ok, Helena is running away from a bear.”
“Now I will believe that there are unicorns!”
Unfortunately, that’s a line from The Tempest, not Midsummer. I have no idea how this one got here. The word unicorn doesn’t appear in the play that I can find.
How Were The Fairies
Now, let’s talk about the fairies. Most of the fairy budget was spent on Titania’s retinue. They sparkle, they glow, and they have lengthy dance numbers. At one point, they’re literally floating into the sky by the dozens:
Wow! If this is the entrance for Titania, I wonder what Oberon’s entourage will look like?
Uhhh… yeah. There’s a lot of these guys. They even have a band at one point, and you seriously wonder if the original Star Wars Cantina scene got the idea from this movie.
Later, though, they do get a costume change…
For some reason that I genuinely don’t understand, they suddenly all have wings. Black, scary wings. It’s very much like the part in The Tempest when Ariel suddenly transforms into a Fury, but I don’t recall such a scene in Midsummer. Just all of a sudden, they went from “little people in Halloween masks” to “I don’t know what’s going on but I don’t like it, keep those things away from me.”
What of our stars, Oberon and Titania?
Oberon gets the better deal here. Titania gets to sigh and oooh and ahhh with hand on cheek a lot. She sounds a great deal like Glinda from Wizard of Oz. Oberon, meanwhile, is a walking special effect. Not only does he have this cool crown of branches (that, in fairness, reminds me of Groot from the Marvel movies), but he’s always surrounded by stars. This is another one of those dream-like things. Why are there stars around him? How are they there? Are they actual fireflies? Are they really there or an illusion? If he swatted at them would they move? We don’t get any answers, of course. This is just how he goes about life.
But that’s ok, Titania gets to one-up her Oberon…
Titania flies wherever she wants. Oberon rides a horse. Again, there’s that dream world logic. Some people fly, some walk, some ride horses. But, are you ready for this?
Oberon can fly, too. SO WHY IS HE RIDING A HORSE?
The Mickey Rooney Show
You can tell how old someone is by how they remember Mickey Rooney, a wonderful actor with a record-breaking career that includes credited roles in 10 decades, from the 1920s to the 2010s.
As our Puck, he was just 14 years old and honestly does a spectacular job for someone so young. There’s a lot of creative license in how to play Puck, and Rooney plays to his strengths. He’s a child, running around and causing mischief. When he’s in the mood to act like an animal, he makes animal noises. When he finds things entertaining, he laughs with genuine glee. When an adult tells him what to do, he enthusiastically goes about trying to do it properly, though he doesn’t always succeed. All while delivering a lot of Shakespeare, in makeup and costume. Sometimes he flies. According to the trivia he actually spent much of production with a broken leg and had to be wheeled around the set!
Experience It For Yourself
Honestly, just see this one if you can. There are places where you really think you’re watching Mystery Science Theatre 3000 and the entertainment is to be found in mocking how bad it is (seriously, I can’t do justice to the “goblin fairies’). There are random ballet sequences just inserted at will. The special effects deserve their own award for just how broad a spectrum they covered. People fly, people fade in and out of existence, Bottom transforms back and forth before our eyes. Then there are the dimestore masks, and this fairy being carried off into the sunset:
I repeat, it’s like a dream. When it’s done you’re left thinking, “What in the world was that? Did it make sense or not? I can’t really tell.”
Ok I was excited at a chance to see some footage of David Tennant’s Macbeth (coming soon to a theatre probably not near you). If you’ve never seen Mr. Tennant play the villain, go check out his turn in Marvel’s Jessica Jones series. That recognizable accent that can so readily make ’em all swoon can easily switch to something more Satan than Seyton. Can’t wait to see what he does with the Scottish Play.
Ready?
I Hate It
I try very hard to find something to love in all Shakespeare performances, and I’ll probably watch this 12 times and find something. But on the first watch? I’m bothered by it, and I figured out why.
He’s looking at the camera, and I want him to stop.
It’s often asked about Shakespeare’s soliloquies. Who is the actor talking to? We know that the point is to share information with the audience, to get at the character’s inner thoughts in a way not otherwise available. But eye contact turns that from “we happened to overhear something we maybe shouldn’t be privvy to” into, “You’re in the story now, and I’m deliberately telling you this.” That makes you Macbeth’s confidante. And I think that takes away from his character. I want an insane Macbeth, someone paranoid with no idea who he can trust. I don’t want to be some trusted friend.
Maybe it will be different. Who knows, perhaps this is a little featurette they made just for this purpose, and it’s not actually in the play this way. That’d be annoying for different reasons, We all hate it when the trailer contains scenes or soundtrack that aren’t in the final product. Or maybe it’s there, but its limited, so Macbeth talks to us in the first half, working out the plan and telling us his fears because clearly he’s afraid to voice them to his wife, but then after the murders he just kind of forgets we’re there. That might be able to work.
When does it work?
Bardfilm and I were discussing this morning about when and how this technique can work. In live theatre, it’s possible for the actor to pick out a specific seat in the audience and direct a whole speech at them. This probably works for the rest of the audience, since they still get the same experience. But what of that person? I think I’d want that to stop immediately. I don’t want to be part of the show.
It came to mind that Hamlet might be fun to add this element. Hamlet’s famous opening line is one that only we hear, “A little more than kin and less than kind.” Imagine he said that looking directly at you. So now you’re basically Horatio, you’re the witness to what’s going on,. Now it’s different. I don’t want to be in on it with Macbeth. But I want to be there for Hamlet. Does that make sense? If Hamlet knows I’m here, Hamlet’s not alone.
What do you think, do you want to be pulled into the play like this?
Ok, this is the kind of story that makes me want to blog again. The actual RSC – you know, the Royal Shakespeare Company – is getting behind a Shakespeare videogame project based on Macbeth.
There have been a lot of Shakespeare video games strewn throughout our history: point-and-click adventures, space shooters, and massive online role-playing games. Sadly, I’m unsure I can point to any that still exist. I always have a notebook of ideas that, should I someday win the lottery and have infinite time and resources at my disposal, I will absolutely bring into reality.
That doesn’t mean we can’t keep hoping, though.
Set in contemporary Iran, the game features Cannes Best Actress winner Zar Amir as Lady Macbeth. This marks the RSC’s first venture into video gaming, with the game co-produced by Zar’s Paris-based Alambic Production.
Lili is a screen life thriller that allows players to access Lady Macbeth’s personal devices, blending live-action cinema with interactive gameplay. The game immerses players in a stylised, neo-noir vision of modern Iran, where surveillance and authoritarianism are prevalent. Players will make choices that influence Lady Macbeth’s destiny, with Macbeth’s witches reimagined as hackers.
Well, I hate the “blending live-action cinema with interactive gameplay” idea. That reminds me of many failed attempts to integrate laser disc and similar technologies where basically all you got was a jumpy “Cut scene … menu of choices … cut scene …. menu of choices…” and under the covers it’s little more than a “choose your own adventure” book.
But, we’ll reserve judgment. What I love (and I think my daughter will love too) is, “make choices that influence Lady Macbeth’s destiny.” In my old age I’ve become a fan of Lady Macbeth, and see all kinds of interesting interpretations of the play from her perspective. When did she have the baby, was it long ago or recently? As a married couple, are they still trying, or have they given up (or possibly been told it can’t happen)? What was her relationship with her father? So much backstory to fill for her.
Setting it in Iran brings all kinds of new gender issues to the story. Lady Macbeth’s whole thing is “I can’t do that because I’m not a man.”
I’m excited for a new videogame to try, though I have to admit it looks like a fancy interactive theatre experiment. We’ll have to see how it looks when it’s finished!
I’ve been unemployed for several months, and I’m not enjoying it. As a “full stack” software engineer, and an old one at that, one of the biggest hurdles to getting through the job interview game is keeping specific technical skills up to date. I was at my last job for eight years, so there are many things I never got to touch. That’s working against me.
I want to change that. Technology doesn’t exist in a vacuum, however. Reading a book or taking a course is not enough to say, “Sure, I know that language,” any more than it would be true for Italian or Icelandic. You have to use what you’re learning, internalize (grok!) it, and be able to speak confidently that you know what you’re talking about.
With that in mind, I will use the site as a canvas for learning projects. While I could create a new site for this, I’ve already got the domain, the hosting, and the traffic here, so I might as well use it. It also goes toward that “not in a vacuum” thing. I can add features here that are useful and not just another to-do list manager.
Presenting My React + TailwindCSS Shakespeare Browser
Several months ago, with the help of generative AI, I put together some resource pages on the site offering basic summaries of the plays and individual characters. It was an exercise in SEO (search engine optimization). To put it bluntly, if I built it, would they come? Yes, those pages are hit thousands of times each month. But that project was also a cobble-together job, very static and hard to maintain. I always knew I wanted to rewrite it.
Now I have. The specific technology I wanted to practice is known as React and TailwindCSS, for the curious (with some Vite thrown in). Instead of having hundreds of static pages, only a few dynamically generated ones power all of the content. This allows me to create a better user experience that I can easily maintain. When I update the content, I need to push a single file. When I want to touch up the visual design, I can do it consistently across all the pages.
If you find any broken links, please let me know; since this is a small React app running side-by-side with WordPress, I had to do some fancy rewriting trickery behind the scenes, and it may not always be perfect.
I admit that this was built using gen AI, and we know AI tends to hallucinate. I’ve been steadily going through the more egregious issues and fixing the content by hand, but there are hundreds of entries to look at, so the more eyeballs we can put on the problem, the better. These hallucinations sometimes include making up characters that may not even exist. Be warned.
Quality Control Play titles should appear different than character names — Hamlet vs Hamlet, for example. HTML or other formatting that doesn’t look quite right. Fair warning I’m no visual designer, I just don’t have the eye for it. If you’ve got ideas for making it look more beautiful, too, starting with color, maybe? I’m happy to take them.
New Features What can we add to this? It originally started as a full browser of the entire play text (which still exists in the static pages), but moving that whole thing to React is a much bigger job I’m continuing to work on behind the scenes. What else? How can we make these pages the most useful for all those Google users finding their way to them?
Hire Me? This part’s obligatory — if you know any place hiring full-stack developers, particularly those experienced in Ruby on Rails (and now React and TailwindCSS!), please, by all means, send my name along. Beggars can’t be choosers in this market. I’ll take every lead that comes my way.
Thanks For Everything
Like so many of my projects, this is a work in progress, so please don’t be too hard on the effort. I’ve got so many irons in the fire these days that it’s hard to keep my attention focused long enough to stick to a single project as long as I want. I should probably also be doing things in Python, Go and Rails, too. I appreciate having this platform to work on what I can when I can and the continued help and support of all my readers. Thank you.
