This did play into the intensity and mood of each scene, allowing the audience to not understand the emotions existing between each individual but to fully feel and experience that emotion. So due to this small blemish it at times caused a domino affect that caused the structure of the production to crumble upon itself. Overall 110 in the Shade was an exceptional musical. I believe Mr. William Bradford, the director of this production, maintained the homey and simplistic nature of this production and instilled that characteristic within the foundation of the play. But I believe it was enhanced by the carefully selected cast, that were more than capable of fulfilling each of their individual roles and submitting their character to the ‘grand scheme’ of things.
The actors speak Shakespeare’s dialogue eloquently and beautifully which I can personally deem as poetry in motion. Having Macbeth interpreted this way; I believe that it makes it much more relatable and easier to understand. Often times, people have trouble when it comes to Shakespeare’s choice of words and how he lays out the discourse of his plays. In this film, that dilemma seems to be thrown out the window and the words paired with the actions, actors, and setting in the film, make it effortless to follow along. The acting is spot-on in this film.
People are, in theory, all bound to a certain set of natural laws and moral codes and country rules, and part of the Romantic dogma is to break free of these bounds. This is precisely what Victor was attempting to do with his reanimation experiments: “Life and death appeared to me ideal bounds, which I should first break through, and pour a torrent of light into our dark world,” (M. Shelley 52) he says, further cementing his existence as a Romantic character. Mary Shelley was a self-professed lover of Coleridge, especially his poem, “Rhyme of the Ancient Mariner,” so it comes by no surprise that she also has references to his poem “The Eolian Harp,” which is another topic breached by several of the Romantic poets because of its place in classical poetry as well. The poem grants the idea of somewhat of a breeze of inspiration playing on the heart of the subject (Coleridge). Shelley takes this idea into her novel in several places, and means it as a breeze of discovery, not just as a breeze of inspiration.
“Tartuffe reminds me of a grown up version of a Dr. Seuss book.” says Casey McCall, who plays Mariane, “It really is a great Show, and I think that people will enjoy it a lot.” The audience is in for quite the surprise when they see this show. They’ll be shocked to see how many parallels there are in modern life to a play that was written centuries ago. Every audience member will be able to connect to a character, whether they’re the religious hypocrite, the person who speaks out of place to fight for what’s right, or the young boy having their love seduced by another man who we all know
The laughing, to deep thinking, to the astonishing scene that nobody seen coming, was all part of the experience the audience took part in. The characters were dressed apprioately at first sight for the time period. The 1960’s wasn’t as classy as the modern era. The hair was flowing, the clothes were dragging, and the energy was extravagant. Joey, who played one of the main characters, was one who brought the play to life the most.
I enjoyed the casting choices because the actors and scenery joined to convey a part of the movies theme. It discussed issues that were amenable. As stated in our text by Edward G. Robinson, “an audience identifies with the actors of flesh and blood and heartbeat, as no reader or beholder can identify with even the most artful paragraphs in books or the most inspiring paintings. There, says the watcher, but for some small difference in time or costume or inflections or gait, go I …. And so, the actor becomes a catalyst; he or she brings ignition that spark in every human being that longs for the miracle of transformation”.
It provides the audience with a vivid understanding of time and the image it creates. Also, the remarkable language indicating Macbeth’s insanity, and it’s lasting effect throughout the play. The passage also brought into a clearer explanation Macbeth’s tragic flaw, which was his weakness towards his ambition. Through these clever themes and images, much can be determined of the play, therefore making it the most gorgeous scene within
Also, Laertes, like his father, has the same spontaneity as Hamlet. Throughout this tragic play, we see there are many foils, whether they are noticeable or hard to see. Foils add to the plot of the play by introducing the audience or reader to the characters personality, which aids us in understanding each character’s decisions. Literary techniques such as these foils greatly enrich a play and make them into final masterpieces, as
God of Carnage was a great play. The use of colors to symbolize the power struggle, the art deco furniture and the symbolism behind clothes were brilliant decisions towards enhancing the whole morale of the play. The characters did a wonderful job of setting the mood and atmosphere and capturing the whole ‘I’m better than you’ idea. The play not only helped the audience see how people actually act today but, without the audience knowing, made you more aware of your surroundings and how to analyze them; a tool that will come in handy in all aspects of anyone’s
Two friends, almost complete opposites when it comes to their personalities, both attend Valencia High School. While one is cautious and keeps peace, the other loves a challenge and has many enemies. Their relationship is similar to that of Mercutio and Benvolio in Shakespeare's Romeo and Juliet. These characters add flavor to the play in representing good and evil, influencing lovesick Romeo, and by adding wit to a serious-toned play. Mercutio, the hot-headed best friend of Romeo, adds wit and humor to the play Romeo and Juliet and was included in the play to make the audience laugh and also to keep them on the edge of their seats with suspense.