One foot in sea and one on shore

                            "Sigh No More" as a modern pop song

It's all Shakespeare and all romance this week in my special edition commemorative post. I've returned from my multi-flight overseas journeys a changed woman, and Shakespeare had a fairly specific influence on events.

First off, I got my ass to a screening of Joss Whedon's pet project Much Ado About Nothing while I was Manhattan. It was the eve before the heat wave, and we headed to the cool Landmark Sunshine Cinema in the Lower East Side. My friends who tagged along aren't Shakespeare types, but they know me, and stuck with me, knowing molecular mixology would ensue as the evening pressed on.

Of course, I enjoyed the film overall. It was, if nothing else, a bold and creative take on the classic play. The casting was great. The Beatrice and Benedick were the heart of the story, but I found the Hero and Claudio had a slightly more engaging presence than those in Sir Ken's film version. The highlight was Nathan Fillion as Dogberry, who, having admitted to no Shakespeare experience, floated along perfectly using all his comedic skill and proved a treat to watch on screen.

I really loved the treatment of the songs in the film. Joss produced a very charming jazzy rendition of "Sigh No More" that tweaks the heart and makes you wish you had a light summery cocktail in your hand.

I'm still not sure if the choice to film in black and white helped or hindered the atmosphere of the film. It certainly gave a classy sheen to the imagery, but the modern Los Angeles setting (at Joss' home, no less) was too obvious to lend any actual sense of timelessness we like to associate with Shakespeare.

While all the actors definitely understood their lines (which is more than can be said about even one of my personal favorite Branagh films, Love's Labour's Lost), the language still felt out of time and place. That probably has more to do with the delivery than the present-day setting. All the actors were essentially shoehorning grand, flowery soliloquies and dialogues into casual, everyday cocktail-hour conversations. The acting was naturalistic, and to a fault. This film made me realize that without a certain level of pure theatricality, Shakespeare feels forced--in this case, constrained by the not-so-epic dramas of normal human beings.

This is where I both respect and disdain Joss' vision: he clearly adores the material and wants to show us that Shakespeare is relevant and current in its themes and characters, but I think it's more difficult to "modernize" comedies than most of the tragedies and histories. With something like Coriolanus or Henry V, you could easily set them in present-day war-room situations involving the already elevated theatricality of politics and issues of state and the language and reactions to events wouldn't feel too overdone. That's what politicians do anyway, so it feels truly naturalistic.

The slapstick comedies almost always feature contrivances that would never prove believable obstacles and salient plot points today. For example, in Joss' film, the idea that Claudio would mistake the maid in Hero's window for Hero herself is completely cancelled out by the fact that we were previously shown that there are security cameras all over the household. No way a modern Claudio would fall for such a transparent ploy as Don John's. If the scene didn't have such an enormous influence on the remainder of the story, it may have been easier to ignore.

In the end, there are more moments in Joss' Much Ado that entertain and seduce than there are ones that remind us of the fragility of suspended disbelief. It is definitely a pleasure for fans of Shakespeare and romance and I recommend such folks give it a go.

On that note, I would like to make a personal announcement :)

Of all the unforgettable experiences I had in the UK and Ireland with my dear friends this time around, the most unexpected (and I shall say Shakespearean) was meeting Jamie, my new favorite person in existence. In the heady midst of my first "pub crawl" with new friends in downtown Newcastle, some of the first words exchanged between us was a general SQUEE about Shakespeare. It took me 30 years and a spanning of the Atlantic Ocean to finally fall in love. Our first real date involved recitations of Hamlet and Richard III to each other, and in the back of my head, I kept thinking of Benedick and Beatrice.

I may chance have some odd quirks and remnants

of wit broken on me because I have railed so long against

marriage, but doth not the appetite alter? 

What fire is in mine ears? Can this be true?

Stand I condemned for pride and scorn so much?

Contempt, farewell, and maiden pride, adieu!

No glory lives behind the back of such.

And Benedick, love on; I will requite thee,

Taming my wild heart to thy loving hand.

Shakespeare is extremely relevant to us. It's one of many (super geeky) things that bonds me and my beau across the sea that sunders us from physical proximity, and enriches the way we experience our far-flung romance. As Helena says in "All's Well That Ends Well:"

The mightiest space in fortune nature brings
To join like likes, and kiss like native things.

Within the book and volume of my brain

List, list, O, LIST

While I was working through the last 41 weeks of memorization exercises, I've had this paper taped to my closet door. It's just a chronological list of all Shakespeare's plays. Every time I read a play, I highlighted it in pink. Every time I learned a speech, I added a blue dot next to it. When I reached my goal, I snipped the paper into candy-colored strips, each with a play on it, and threw them into a bag. Now, every evening, I randomly select a strip from the bag and practice it a bit before bed, then proceed to spend my morning and afternoon commute to work reciting to myself, usually with the accompaniment of some old-school, wordless M83 songs.

Some are as easy to recall as that first "To be" speech; others require more polishing, as very often the one I grab from the bag is one I haven't revisited in so many weeks. But so far, this rehash activity has proven fruitful. Just yesterday, after a few weeks of this practice, I dumped the pile of re-visited speeches onto my bed and proceeded to pick one up, recite, then pick another and another until they were all gone. It took a half hour, and I did it with only one cheat: it was to make sure Hamlet said "my uncle" and not "mine uncle" in his first soliloquy.

My fear near the end was that I'd forget some of the less favorited speeches, so doing this both confirmed and destroyed that fear, since practice really is the silver bullet when it comes to achieving any level of proficiency at anything. (Plus, I've surprised myself that I even have enough room in my mental hard drive lately, since a large percentage of RAM has been dedicated solely to squeeing over Benedict Cumberbatch again.)

Obviously, this thing is not over.

I still have a mental list of speeches I'd like to still learn:
1) Hamlet's third soliloquy
2) John of Gaunt's speech about England in Richard II
3) Berowne's epic 77-line rave about love from LLL
4) Prince Hal's plea to his father about redemption in Henry IV Part 1
5) Ophelia's "What a noble mind is here o'erthrown" speech

I wonder if any of my readers could suggest any others for my tackling pleasure?

The longer the achievement, the more apt I am to unlock them. I'm not entirely sure why. Perhaps it's just the meditative quality of a good, lengthy thought process that keeps my brain at attention for so long and serves to defrag it or something. Maybe it impresses me more deeply because it seems so intimidating when you see it on paper, but turns out to be quite natural once it's uploaded to my brain. Whatever the reason, it's always fun.

Has anyone else given this a go?

Why, all delights are vain

"Heaven... I'm in heaven..." from Branagh's 2000 film adaptation

Sir Ken is a god of some sort, obviously, but when I realized he had made Love's Labour's Lost into a bonafide Irving berlin-esque musical, I was saying "What's all this now?" Aside from the subjective opinion that Fred-and-Ginger movies are AWESOMESAUCE and Shakespeare is AMAZEBALLS, I initially thought the combination might be less than peanut butter and chocolate perfection.

I was wrong.

My dear Sir Ken made something I personally adore even more than Much Ado About Nothing (amazingly enough, since that's near perfect anyways). Now, LLL is notoriously wordy and while the monologues and dialogues are poetic and clever and beauteous to the nth degree, they can be a tad long-winded. So Ken's vision was a film that replaced the more ludicrously protracted speeches (mostly recited by the incorrigible but whip-smart Berowne) with musical numbers that could more succinctly convey the feelings of the characters in the moment. It totally worked.

There was one speech from Berowne, however, that I was looking forward to hearing Kenneth deliver but never heard because it was usurped by "I'd Rather Charleston," which, honestly, is a darling song I truly enjoy because I had a recording of Fred Astaire singing it with his sister Adele that's just insanely adorable.

That speech, wherein Berowne pleads with Navarre and his buddies about the supposed virtues of study over engaging in more carnal pursuits, amounts to what I'd call a Shakespearean tongue-twister for me. It's light and quick and meant to bewitch and beguile his friends so they don't wish to adopt the rather Spartan rules of their three years of intense study. It's fun to say as quickly as you're able and still is a challenge to deliver.

There's one other lovely speech I considered, from Act 4, Scene 3. Sir Ken, in all his talent and wisdom, decided to include an abridged version of this 77-line mouthful in the film, and begins it by tap dancing in iambic pentameter. Needless to say, this blew my mind and fangirlish ovaries to bits. I promised myself to learn it one day, but for now, I have the following under my belt:

Love's Labour's Lost, Act I, Sc. I

Berowne: Why, all delights are vain; but that most vain,

Which with pain purchased doth inherit pain:

As, painfully to pore upon a book

To seek the light of truth; while truth the while

Doth falsely blind the eyesight of his look:

Light seeking light doth light of light beguile:

So, ere you find where light in darkness lies,

Your light grows dark by losing of your eyes.

Study me how to please the eye indeed

By fixing it upon a fairer eye,

Who dazzling so, that eye shall be his heed

And give him light that it was blinded by.

Study is like the heaven's glorious sun

That will not be deep-search'd with saucy looks:

Small have continual plodders ever won

Save base authority from others' books

These earthly godfathers of heaven's lights

That give a name to every fixed star

Have no more profit of their shining nights

Than those that walk and wot not what they are.

Too much to know is to know nought but fame;

And every godfather can give a name.