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review 2018-09-20 16:59
Peter O'Toole: the Definitive Biography (Sellers)
Peter O'Toole : the definitive biography - Robert Sellers

Is this really "the definitive biography"? It's certainly the best in a very disappointing field since O'Toole's death. Notably absent amongst the people interviewed as original sources: any of O'Toole's surviving family, including ex-wife Sian Phillilps (mother of his two daughters) or ex-partner Karen Brown (mother of his late-life son). So this is definitely not the "authorized" biography, which can be a good or a bad thing. In this case, I think it has been detrimental to any real understanding of O'Toole's family life (Sian Phillips' autobiography is a useful corrective for the years when they were married).

 

I was dubious when I saw Robert Sellers to be the author, because he has also written books with such unpromising titles as "Hellraisers: The Life and Inebriated Times of Richard Burton, Richard Harris, Peter O'Toole, and Oliver Reed" and "Don't Let the Bastards Grind You Down: How One Generation of British Actors Changed the World". In other words, he gives every appearance of being one of those bloke-ish biographers who delight in chronicling promiscuity and drunkenness, as if they were something necessarily associated with great talent and in some way admirable. Mind you, to be fair, if you're going to write about Peter O'Toole, you're going to have to address both of those major factors in his life and career. But I was pleasantly surprised at the relative absence of celebratory adjectives about the alcoholism that most certainly contributed to O'Toole's dreadful health in the second part of the career (not to mention his very poor reputation amongst landlords and other property owners).

 

The sources for this book are chiefly gossipy minor players in the entertainment world, most of whom doubtless have dined out on their O'Toole stories for some time, so we must take into account the natural human tendencies to embellish and generalize. The other people involved in the best anecdotes are by and large gone from us, and can't issue any refutations (if indeed they would wish to). But in addition to O'Toole's mischief, drinking, and occasional completely thoughtless cruelty, I found that there was also a ring of truth - through repetition from different sources - in the accounts of his deep thoughtfulness about his craft, his extensive and intelligent reading, and a generosity that could be as extravagant as his narcissism. As I think I remarked in my review of "Hellraisers", O'Toole still comes off, like Burton, as someone you could see wanting to associate with, as opposed to some of the nastier drunks in his circle of contemporaries. (And lest anyone wonder, it does seem that he dabbled in drugs as well.)

 

Sellers puts to rest the old controversy of where O'Toole was born, Ireland or England, by digging up the actual birth certificate from Leeds. But he does also acknowledge throughout that O'Toole became Irish, almost by dint of wishing so very much to be Irish (he always claimed himself that he did not actually know one way or the other).

The book has a decent apparatus (index, bibliography, list of film and theatre credits), and there are citations at the end for most paragraphs, though since most of said citations are to "author's interview with X", there's really not much verification that can be done. Sellers also took the time to view the historical record in the form of TV talk show utterances (now much more available to us through youtube), and he relies relatively little on previous biographical work as far as I can see, although Sian Phillips is of course fairly heavily cited.

 

"Better than expected" doesn't seem like particularly high praise, but in fact I'm quite pleased to give this book a place on my shelves. Since O'Toole will unfortunately never continue his slim, whimsical, fascinating autobiographical efforts into the most riveting years of his career, we must rely on the more prosaic expressions (and perhaps more reliable memories?) of the people around him who may not have been his nearest and dearest, but for that very reason may have been reliable observers.

 

Recommended to fans of O'Toole and people who enjoy anecdotal biography about London and Hollywood in the mid to late 20th century.

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review 2018-08-15 00:11
Unglücklich das Land, das Helden nötig hat: "Das Leben des Galilei" by Bertold Brecht
Bertold Brecht: Leben des Galilei - Wilhelm Große



"Galilei: Ja, wo ist sie jetzt? Wie kann der Jupiter angeheftet sein, wenn andere Sterne um ihn kreisen? Da ist keine Stütze im Himmel, da ist kein Halt im Weltall! Da ist
eine andere Sonne!
Sagredo: Beruhige dich. Du denkst zu schnell.
Galilei: Was, schnell! Mensch, reg dich auf! Was du siehst, hat noch keiner gesehen. Sie hatten recht!
Sagredo: Wer? Die Kopernikaner?
Galilei: Und der andere! Die ganze Welt war gegen sie, und sie hatten recht. Das ist was für Andrea! Er läuft außer sich zur Tür und ruft hinaus: Frau Sarti! Frau Sarti!
Sagredo: Galilei, du sollst dich beruhigen!
Galilei: Sagredo, du sollst dich aufregen! Frau Sarti!
Sagredo dreht das Fernrohr weg: Willst du aufhören, wie ein Narr herumzubrüllen?
Galilei: Willst du aufhören, wie ein Stockfisch dazustehen, wenn die Wahrheit entdeckt ist?
Sagredo: Ich stehe nicht wie ein Stockfisch, sondern ich zittere, es könnte die Wahrheit sein."


In "Das Leben des Galilei" by Bertold Brecht


I watched this play in 2006 in Lisbon at Teatro Aberto starring Rui Mendes as Galileo. There was a repartee between Galileo and Arturo Ui that I'll never forget.

 

 

 

If you're into stuff like this, you can read the full review.

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review 2018-05-04 19:34
If you believe in the power of stories and love magic, theatre, families, and heart-warming novels, you must read this feel-good book. Love at first-read.
Days of Wonder - Keith Stuart

Thanks to NetGalley and to Little, Brown and Company UK (Clara Díaz in particular) for providing me an ARC copy of this book that I freely chose to review.

I read and reviewed Keith Stuart’s first novel A Boy Made of Blocks, a truly extraordinary book, a couple of years ago, and loved it. I could not resist when I was offered the opportunity to read the author’s second novel. And, again, it was love at first read.

Days of Wonder has some similarities to A Boy. It does center on the relationship between a father and his child (in this case, Hannah), and how their relationship is shaped by a specific condition affecting the child (Asperger’s in the first novel, a chronic cardiac illness that cannot be cured and will only get worse in this novel). All the characters are beautifully portrayed, not only the protagonists but, in this case, also an array of secondary characters that become an ersatz family unit.

Tom, the father, runs a small theatre and has close links to the amateur theatrical group. His wife, Elizabeth, left the family when their daughter was three and leads the life of a high-flier, with no real contact with her family. Hannah has grown-up in the theatre, surrounded by the players and by stories, both on stage and out.

The book, narrated in the first person by both Tom and Hanna (mostly in alternating chapters, although towards the end there are some that follow the same character’s point of view, due to the logic of the story). Hannah’s narration in the present is interspersed with what appear to be diary entries addressed to Willow, (the theatre is called The Willow Tree). She is a strong girl, who loves her father, the theatre and the players, her friends, and who has a can-do attitude, despite her serious illness, or perhaps because of it. She knows how valuable each moment is, and lives it to the fullest (within her limitations). She is worried about her father and how much he has focused his life on her and decides that he must find a woman and live a fuller life. She loves comics, fairy-tales, is funny (having a sense of humour does help in such a situation, without a doubt), witty, and wise beyond her years, whilst being a credible teenager who worries about boys and can sometimes have questionable judgement. I challenge anybody not to fall in love with Hannah, her enthusiasm, and her zest for life.

Tom is a father who tries his hardest in a very difficult situation, and who sometimes finds himself in above his head, unable to function or to decide, frozen by the enormity of the situation. He is one of the good guys, he’d do anything to help anybody, and some of his philosophical reflections are fairly accurate, although, like most of us, he’s better at reading others than at understanding himself. His date disasters provide some comic relief but he is somebody we’d all love to count as a friend. Or, indeed, a father.

One of my favourite characters is Margaret, an older woman who has become a substitute grandmother for Hannah, and who is absolutely fabulous, with her anecdotes, her straight speaking, her X-ray vision (she knows everything that goes on even before the people involved realise what is going on sometimes), and she is a bit like the fairy-godmother of the fairy tales Hannah loves so much. As for the rest, Callum, Hannah’s boyfriend, is a very touching character, with many problems (the depiction of his depression is accurate and another one of the strong points of a book full of them), and the rest of the theatre crew, although they appear to be recognisable types at first sight (the very busy mother who wants some space for herself, the very capable woman whose husband is abusive, a retired man whose relationship with his wife seems to be falling apart, a gay man who can’t confess his attraction for another member of the group…), later come across as genuine people, truly invested in the project, and happy to put everything on the line for the theatre.

The novel is set in the UK and it has many references that will delight the anglophiles and lovers of all-things-British, from language quirks to references to plays, movies, TV series and festivals. (Oh, and to local politics as well), but I’m sure that the lack of familiarity with them will not hinder the readers’ enjoyment. Although there are also quite a number of references to theatre plays and comics (and I don’t know much about comics, I confess), they never overwhelm the narration and are well integrated into the story, adding to its depth.

The book deals in serious subjects (family break-ups, abuse, chronic physical and mental illnesses [affecting young people, in particular], aging and death, growing-up, single-parent families) and whilst it makes important points about them, which many readers will relate to, they are seamlessly incorporated into the fabric of the novel, and it never feels preachy or as if it was beating you over the head with a particular opinion or take on the topic.

Reading the author’s comment above, I can vouch for his success. This is indeed a book about love, life, and magic. It is a declaration of love to the world of theatre and to the power of stories. The novel is beautifully written, flows well, and the readers end up becoming members of their troupe, living their adventures, laughing sometimes and crying (oh, yes, get the tissues ready) at other times. Overall, despite its sad moments, this is a hopeful feel-good book, heart-warming and one that will make readers feel at peace with themselves and the world. It has a great ending and although I wondered at first if the epilogue was necessary, on reflection, it is the cherry on top of the trifle. Perfect.

The book is endlessly quotable and I’ve highlighted a tonne of stuff, but I couldn’t leave you without sharing something.

Here is Hanna, talking about magic:

I don’t mean pulling rabbits out of hats or sawing people in half (and then putting them back together: otherwise it’s not magic, it’s technically murder). I just mean the idea that incredible things are possible, and that they can be conjured into existence through will, effort and love.

As I’m writing this review on Star Wars Day, I could not resist this quote, again from Hannah:

I feel as though it’s closing in around me, like the trash-compactor scene in Star Wars, except I have no robots to rescue me although I do have an annoying beeping box next to the bed doing a twenty-four-hours-a-day impression of R2-D2.

Oh, and another Star Wars reference:

It’s as though the spirit of Margaret is working through me, like a cross between Maggie Smith and Yoda.

And a particularly inspiring one:

Margaret told me that you must measure life in moments —because unlike hours or days or weeks or years, moments last forever. I want more of them. I am determined. I will steal as many as I can.

A beautiful book, a roller-coaster of emotions, and an ode to the power of stories, to their magic, and to family love, whichever way we choose to define family. I urge you to read it. You’ll feel better for it. And I look forward to reading more books by its author, who has become one of my favourites.

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text 2018-01-30 08:18
Movie Theatres on Wheels!

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Conclusion

 

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review 2018-01-23 22:29
Richard Burton: Prince of Players (Munn)
Richard Burton: Prince of Players - Michael Munn

This biography of Richard Burton is, I would guess, highly unreliable as to details. Although Michael Munn, the author, was indeed in the entertainment business in minor capacities, I very much doubt he had the kind of access to Burton himself (or to his circle) that would allow him to quote, apparently verbatim, whole stretches of actual conversation so very focused and illuminating about Burton's life. My suspicion that in fact Munn was paraphrasing cribbed versions of secondary sources was confirmed when I compared his account of an incident involving John Gielgud with Sheridan Morley's Gielgud biography, and discovered word-for word-borrowings but written as if told to the author directly by Burton (the tip-off was the idiosyncratic phrase "idiot boards"). That said, Munn does seem to have had some access to Burton (though not perhaps in the chummy way he claims), as well as to some of the more notorious gossips in Hollywood like Roddy McDowall. He also actually gives us a bibliography of sorts, though only a "selected" one; so I suspect he did his reading.

 

This, then, was a quick read with a hefty dose of salt, reliable for at least the bare outlines of Burton's career, and likely also a pretty good reflection of the gossip about Burton over the years. It's not a very happy tale. Indeed, given whatever illness of the mind (or brain) he was suffering from, as well as his lifelong alcoholism, what strikes me about Burton is not the brevity of his working life but the fact that he managed to get as much good work done as he did.

 

I was relieved to read that despite his reputation of having slept with every leading lady he had, Julie Andrews (who shared the stage with him in "Camelot") was notoriously proof against his boozy charms.

 

There's got to be at least one better biography out there, and I remember hearing that Burton's own diaries have been published, so I may come back to him at some point. I'm really far more interested in Peter O'Toole (upon the subject of whom this particular book was pretty light, though apparently they were quite good friends), but reading this book has at least revived in me the desire to go back and watch "Becket" again.

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