I look forward to comparing Denzel Washington's film adaptation to this stellar play. I find it a little depressing that in th4.5 Stars out of 5 Stars
I look forward to comparing Denzel Washington's film adaptation to this stellar play. I find it a little depressing that in the 80s when it premiered, not much had changed socio-economically from that 50s when the play is set. And now today, in 2016, not enough has changed. During my first read today, I felt more sympathy for Troy than I feel most readers probably do on their first read through. I can see how Denzel, and Jones before him, faced an incredible challenge in having to make Troy into a sympathetic, human character and not simply an abusive, remorseless monster. I assumed before sitting down to read that Fences was going to be mostly about issues of race and racism in America, which would have been fine. However, Wilson turns his play into so much more. Ultimately, Fences is a human story with thematic concerns that transcend race and socio-economics....more
I became especially attracted to reading this short piece when I read (in Tracy Daughtery's excellent biography, Hiding Man) that one of my favorite wI became especially attracted to reading this short piece when I read (in Tracy Daughtery's excellent biography, Hiding Man) that one of my favorite writers, Donald Barthelme read the play aloud to one of his wives and could quote it freely. If Barthelme liked it, I knew that it must be good. Plus, Beckett has been waiting on my shelf for me for far too long.
Luckily, Beckett, who I was avoiding in part on account of how towering the reputation of his work is, is actually not quite the scary literary giant he looks to be. I am not trying to say that he is not literary, but he is not scary, and more accessible than I expected him to be.
Anyway... Krapp's Last Tape. An unforgettable dramatic piece that I would have given anything to see performed by Patrick Magee (A Clockwork Orange, Barry Lyndon) in the original production. Of course, now that I Google it, it would appear that there is a recording of his performance on the YouTube.
Although I am only 23, I somehow find that themes of old age truly resonate with me. (As I write this, I feel that looking back at this will roll my eyes as much as Krapp does at some of his youthful passages). I suspect that as I age, Krapp's Last Tape will become even more resonant for me and my experiences. Beckett has a mix of surreal eccentricity and an understated depth of feeling (usually melancholy) that I love to see from literary heroes. I can't wait to re-read this again and again to learn more about Krapp and his tapes....more
Potterheads be warned: don't expect reading Harry Potter and the Cursed Child to be anything more than a fun way to spend three hours. Plays are alwayPotterheads be warned: don't expect reading Harry Potter and the Cursed Child to be anything more than a fun way to spend three hours. Plays are always fast reads, and reading a play while catching up with four or five of your most magical childhood friends cannot possibly be considered a waste of time. HPCC, however, is not going to appease readers who are expecting:
(A) any form/genre of literature that isn't a play and (B) anything that truly/significantly alters the "canon" story line that was left behind by Years 1-7 and the Deathly Hallows epilogue.
These points are meant to provide the basic parameters of what can even begin to be considered reasonable expectations for this anticipated addition to Rowling's wizarding world. Without these caveats in mind, it would be difficult for anyone to read HPCC without feeling uncomfortably surprised, understandably betrayed, or immeasurably disappointed.
I bring up Caveat (A) because I am reasonably confident that there are/will be a solid fraction of Cursed Child readers and buyers (at least among Americans) that will dive in completely ignorant to the fact that it is, in fact, a play. Those within this demographic who are also without any play acting/reading experience will (probably) feel confused and betrayed.
Being a play, readers should also remember that JK Rowling is explicitly credited with the story. Jack Thorne, a seasoned writer of works for the stage, silver screen, and TV was a major influence on (at least) the shape of majority of the dialogue and stage directions. Writing a novel for readers and writing a play for theatergoers are, obviously, unique literary conquests. We should all be thankful that Rowling was gracious/modest enough to collaborate with an experienced playwright.
Caveat (B), without venturing into spoiler territory, is, in my eyes, essentially true. The Harry Potter plot line and characters that millions of us know and love are not disrespected or desecrated in any fashion. Whether or not their nostalgia factor is shamelessly exploited at points in the play is the more pressing matter up for serious debate. The sacred texts remain sacred. No crusades, inquisitions, or jihads necessary. The canon story line that was left behind by Years 1-7 and the Deathly Hallows epilogue remains, within reason, untouched and unaltered.
Measured up against the world-altering developments wrought by the end of every Year 1-7 novel, little progress is made in Cursed Child. Beyond an old folks home for wizards, there are no new locales or revelations of any lasting in-world impact this time around in the wizarding world. That's not to say that fans are not rewarded with more subtle glimpses into the relationships between Harry, Ron, Hermione, and their children decades after Deathly Hallows.
The Cursed Child is at its strongest when it digs into these relationships. If HPCC suffers from anything, it is from not offering enough of these character-based nuances to readers. That being said, other readers and myself must remember that this is a play. A play meant to be performed by actresses and actors that will lend layers of emotion and physicality to these lines and characters that can only fully manifest themselves on the stage. If the dialogue reads as "flat", "unlike these characters", or otherwise "off", it because a plays are ultimately meant to be experienced as performances, not texts.
Other possible complaints will include: - Why did it have to be a play? - Why isn't (X) character in the play? - Why does HPCC read like fan fiction? - Why is it a play?
These are all interesting questions if fans and literary scholars are legitimately interested in exploring them, but unfortunately, more often than not they will just remain unfounded complaints; empty thoughts that give readers an excuse to trash a play for being a play or will serve as an attempt to place their own fan fictive imaginations and would-be realities on a pedestal. I'm not saying everyone will feel like this, but looking over other Å·±¦ÓéÀÖ and Amazon reviews I know that many do or will. Me? I say go into readingCursed Child expecting a fun few hours. Go into the theater to seeCursed Child expecting your mind to be blown. The latter situation will be the truly level playing field for work and audience alike....more
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