Kelson Reviews Stuff - Page 35

The Glass Mendacity is a spoof of Tennessee Williams, mashing together The Glass Menagerie, Cat on a Hot Tin Roof, and A Streetcar Named Desire into one messed-up family gathering, played as comedy instead of tragedy. There’s Big Daddy and Big Amanda Dubois; their son Brick (played by a mannequin) and his wife Maggie the Cat; their daughter Blanche and her husband Stanley Kowalski; their youngest daughter Laura; and a gentleman caller, who appears in the final sce–okay, he shows up in scene one and never leaves. It’s funny on its own, but absolutely hilarious if you know the plays being parodied.

The production we saw was at the Ark Theatre. It’s a tiny theater upstairs in the historic building that houses the Hayworth Theatre. In the 1920s, even office buildings had character! The lobby is basically entry-level landing to the rear stairway, but they’ve managed to fit in a small bar and a couple of tables.

Michael Flynn’s (no, not that one) Eifelheim is a science fiction novel written as historical fiction, following two parallel stories:

• In the present day, a historian is trying to figure out why a village wiped out in the Black Death was never resettled, while a physicist tries to work out a new cosmological theory.
• In 1348, the pastor of Oberhochwald unexpectedly makes first contact with shipwrecked aliens, who spend the next year stranded on Earth near the village.

The present-day story is interesting, but hard to follow just because the viewpoint characters are very…self-absorbed.

Fortunately, most of the book focuses on the middle ages and the story of how a tiny German village encounters and eventually learns to live with the stranded aliens. It paints a detailed picture of life in the 1300s and how their strange visitors disrupt it, and it’s fascinating to look at how someone highly-educated in science and philosophy, but with a medieval European mindset, might see concepts like space travel, electricity, or even evolution. How do you explain coming from another planet in another star system to someone who believes that the Sun moves around the Earth, the stars are all the same distance away, and the “world” encompasses all of the above?

Available from the publisher as a DRM-free e-book.

Side note on rethinking and sequencing the Black Death on my blog.

The stage musical of Xanadu is a silly, self-aware parody of the movie, pared down to the bare minimum plot to hold the songs together, then expanded with more songs by the Electric Light Orchestra. It revels in its camp and never misses an opportunity for a pun or a cheap shot at its own genre (or story, or characters). And of course there’s roller-skating disco.

All this could make it the best show ever or an hour and a half of uncomfortable embarrassment punctuated by moments of hilarity, depending on your taste and frame of mind.

Appropriately enough for a story about fusing different genres together, the show itself is a fusion of two types of popular musicals these days: adaptations of movies, and “juke box” musicals that string together previously unrelated songs by an artist or in a particular style.

Personally, I really liked about 10% of it. I finally started to get into the show during Danny Maguire’s flashback/tap dance sequence and the song, “Whenever You’re Away,” but the rest of it just wasn’t my thing, or wasn’t what I was expecting, or something. The rest of the audience seemed to like it a lot better, though.

Bill Cain’s play is a political thriller in which William Shakespeare is commissioned to write a play about the Gunpowder Plot to assassinate King James I and blow up Parliament. (Remember the fifth of November?) The problem: the king wants him to write the official version of the plot, which has been somewhat…embellished. Shakespeare has to deal with political pressure from the Crown, conflicts among his actors, estrangement from his daughter Judith…and the question of truth: Can he find it? If so, can he afford to write it?

It’s a compelling story – terrorism and torture are topical, and political intrigue is always in fashion – and manages to give you enough information on the background that if you don’t know much about the Gunpowder Plot, or even about Shakespeare, you can still follow what’s going on.

Some familiarity with Shakespeare helps, though. The Globe is rehearsing King Lear at the beginning, and it quickly becomes clear that The True History of the Gunpowder Plot will eventually become Macbeth. References to Shakespeare’s legacy are scattered throughout the play. There’s also a great comedic moment at one point that is only funny if you know about the Porter scene in MacBeth, but it doesn’t interrupt the flow if you don’t know it.

(Some recognizable faces in this production: Harry Groener, the Mayor of Sunnydale from Buffy the Vampire Slayer, and Connor Trinneer, Trip from Star Trek: Enterprise. Coincidentally, Groener was also in the last play I saw, Putting it Together at South Coast Repertory)

Now that I’ve read it, I can definitely say that Brandon Sanderson was a good choice to finish the series from Robert Jordan’s notes, and that splitting the final book into three was the right approach. It may be a doorstopper, but it would be difficult to cut more than a tiny amount without diminishing the impact of what remained.

No spoilers unless you don’t want to know which characters appear in the book. In which case, stop reading now. It focuses primarily on Rand, Egwene, and their respective entourages, though most of the other major characters make appearances. If I were to guess, the next book (Towers of Midnight) will probably focus mainly on Rand and Mat, and maybe Elayne. Katie reminded me that the title is a Seanchan reference, plus there’s another mission — well, quest, really — being built up involving a tower. (Not to mention the White Tower and Black Tower, of course!)

As in Knife of Dreams (and unlike Crossroads of Twilight), things happen in this book! There’s a growing sense of urgency throughout the novel, and everyone who can is pushing hard to have everything in place for the coming apocalypse. For some characters it’s a personal journey. For others it’s political. And for some, it’s simply geographical.

As far as meshing with the rest of the series goes, the only thing that stood out for me was that points of view would switch in the middle of a chapter more often than I expected. It’s not that Robert Jordan never did it, but I remember it being rare outside of the prologues. Brandon Sanderson is more likely to take what would have been two shorter, thematically linked chapters and combine them into one. Katie also noticed one spot early on that one character from Tarabon didn’t speak with the Taraboner dialect — but only the one instance, and one in which the phrasing would have been awkward. It still reads like a Wheel of Time book.

I wish Robert Jordan had been able to finish his epic himself, but it looks like we’re getting the next best thing.