Stars on Stage III: One More Guessing Game

Okay, this is the last Stars on Stage for a while, promise. Anyway, this is a still from a production of Arthur Miller's Death of a Salesman. We all know, or should, that that's George C. Scott front and off-center as Willy Loman. The question is who are the three actors behind him. Sure you can google it but can you guess without googling? All three are famous film actors. The one in front is the least famous with the least amount of big films to his name but the two in back are quite famous indeed with many a big film. The one all the way in the back is so covered in shadow it would be impossible to guess without prior knowledge but try anyway.

Break a leg!

The Direction and Imagination of Peter Brook

All this talk of stars on stage, and a mention of Lotte Lenya and The Three-Penny Opera in the comment section by Marilyn, got me to thinking of my days of studying theatre, Peter Brook and his film version of The Beggar's Opera (1953).

I still haven't seen it.

Peter Brook's name came up often when I was formally studying theatre in college and anyone who has studied the theatre is probably familiar with The Empty Space, his book on theatre that emphasizes the importance of the connection between performers and audience, and is less enthralled with that connection taking place in a traditional setting.

I must admit some of my most engaging memories of theatre have come from small intimate spaces rather than the large 500 seat auditorium. I once saw a production of Hurlyburly performed in a lab space in which there were only two rows of fold up chairs in front of the performers and two along the right side. Sometimes the characters were screaming at each other right in front of your face, other times sex was being had at your feet. Make-up was important in this space. That is, it couldn't look like make-up. When the stripper shows up screaming after being thrown out of the car, it looked like someone had just beaten her up off-stage to achieve the proper effect. And when they smoked their joints on stage, they understood the space they were in. They knew the audience could not avoid the smoke, or the smell. The smell of cigarettes would've spoiled the illusion so when they fired up, well, let's just say the aroma was unmistakable. To this day it still feels like the only reality show I ever saw in person. Peter Brook would have liked it I think.

Brook played with color on stage often and to great effect. His production of A Midsummer Night's Dream* for the Royal Shakespeare Theatre in 1970 is now legendary and you can read about it here. There are some great stills on the page from their archives, including one showing a young Ben Kingsley as Demetrius, but none as good as this one (IMHO), provided by yours truly:

Another legendary production of Brook's at the RSC was Marat/Sade** (1964), which he later made into a film in 1967. Here's a still from the RSC production:

Brook worked in film sporadically, never devoting his full attention to it as his love for the stage was too great. The only films of Peter Brook that I've seen are Lord of the Flies (1963 - B/W) and Marat/Sade (1967 - Color), but the one I've wanted to see for years is The Beggar's Opera which stands as the only musical Laurence Olivier ever did. He even did his own singing. Olivier plays the infamous highwayman Macheath, Mack the Knife to you and me, and Hugh Griffith is the beggar relating the story. But alas, the DVD is only available in Europe. On this side of the pond the usually reliable Netflix only has the Roger Daltry version. Given the fact that so many people now have region-free DVD players I wish Netflix would start carrying more European imports and simply label what region they are for the unaware. Oh well.

So I will continue my quest to see Brook's version of The Beggar's Opera, and recommend a reading of The Empty Space to anyone interested in the theatre who has not yet read it. Brook turned 83 in March and to my knowledge still works in the theatre. As recently as 2002 he helmed a production of Hamlet for television. And even if his best work is behind him, it's an impressive enough body of work to require no further elaboration.

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* When putting on the production on Broadway a year later, Brook received the Tony for Best Direction.

** Brook received the Tony for Best Direction for the New York production for this as well.

Only Connect

I've got stories to tell but don't we all? As my cat would say (long story), "Here's the thing." I've always connected stories in my life to movies. Not right away mind you, in fact, sometimes not at all. But often, I'll think back to something that happened to me and think, "That makes me think of this movie." Now to be clear here's what I'm NOT saying. I'm not saying, "Remember that time I was trapped on that bus with the bomb underneath that would go off if the bus dropped to below 50 m.p.h.? That always makes me think of Speed." What I'm saying is something happens to me that has the same feeling I got from a given movie. The events themselves have nothing in common but produce a similar feeling.

I'm sure none of this makes too much sense right now but it will, hopefully, once you read my first Anecdotal Film Review tomorrow. I'm going to review films by relating a story. Nowhere in the story will be any mention of the film whatsoever. It's up to you, the reader, to interpret the story with the film any way you wish but hopefully, if you've seen the movie or even if you haven't, you'll understand why the story connects to the movie for me. But more than that, I do not intend this as a gimmick. I intend it as a legitimate way to review a movie. I don't see it as something many others would want to do, but I like the idea of it. I'll hope you'll agree. Sometimes the best way I can describe how I feel about something is to describe my feelings about something else. I certainly hope this makes sense to someone out there.

Part of this may come from recent experiences where I felt out of control with what I want to do, and so in an effort to distinguish this blog, personalize it. Maybe. Maybe not. I'm starting off with a story from my theatre days in college. It tells of one of my favorite teachers ever, what he meant to me and finishes with an event of happenstance that ended so perfectly it felt as if someone had scripted it. It has been burned into my memory since the day it happened. Years later the movie to be reviewed was released and after seeing it I thought of that story. Ironically, it's a recent film. Why is that ironic? Because I just had a comment discussion yesterday about blogs not covering old movies enough with Girish, who correctly assured me they do, on The House Next Door and here I am doing a recent film (well, recent if you consider the last ten years recent. I do.) Which movie it is you will see tomorrow. See you then.