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[rm]

Finally saw Megan's play last night, and it so got all the important things right. While the venue is a detriment to the actors in a lot of ways, it combined with the staging, physicality and sexuality of the piece makes it the whole thing spot on in terms of honouring Shakespeare as popular entertainment, all with very very few adjustments to the actual text, and really, with a minimum of modernization. I mean obviously, it's filled with modern elements, but not as its stylistic vision but because that's the easiest way for the audience to get it, and what's amazing is that you almost never, ever notice it (which is a nice break from Oh Look We'll Set Richard III/A Midsummer Night's Dream/Julius Ceasar in the Nazi/Victorian/Modern Era And That's All The Work We Have To Do Fuck Swords Here's A Gun school of things). It made me miss NIDA, because it would have been an eight hour conversation about the thing.

Also, best use of Time After Time I've heard in a while. Oddly dear to me.

And Lord, I want to use that space for something. I have no idea what, because there's a bad disconnect between what I want to do with that space visually and what a bar audience can really deal with and be attentive to, but oh oh oh oh. Little stage with brocade curtains, and a little gold frame. Eeeeeee.

Meanwhile, my date last night was sabatogued by a migraine, and I have to go pop into my office for about thirty seconds. The bruise on my hip remains massive, and I'm really hoping the shooting for Fur is as far off as I think, because if I get called with this thing, that's gonna suck.

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[ladypeculiar.livejournal.com]

Also, best use of Time After Time I've heard in a while. Oddly dear to me.

I adore that sound cue more than anything.

I think what made the scenese work really is that most productions take the view that Antonio is gay gay gay and Sebastian is straight straight straight . . . having him be this happy go lucky bi-boy just made the whole thing s'darn cute. And gosh darn hot.