THE DAILY TELEGIRAFFE
"For the news you want to read (but no one else will print)"

                 

The "Grand Ole Party" game plan: When you don't like the election results, make it harder for people to vote.

From the Washington Post:

Republicans in 33 states “have introduced, prefiled, or carried over 165 bills to restrict voting access."

The thrust of virtually all these measures is to make it more difficult for African Americans and other minorities to vote.

For example, Republicans are using their control of the Georgia statehouse to try to eliminate all early voting on Sundays.
That would put an end to “Souls to the Polls,” a popular Sunday get-out-the-vote initiative in which Black churches
help parishioners get to polling places and cast their ballots.

“Souls to the Polls” eliminates barriers to voting that thousands of Black Georgians otherwise might face, such as
transportation for the elderly or finding time during the workweek for others. Georgia Republicans want to put those
barriers back up — and raise them even higher.

Update: March 1, 2021: Certain variants have been shown to be able to *re-infect* people who previously had Covid-19 and recovered.

This means that you can potentially become infected again, with another strain of the virus, even after your body
has produced anti-bodies, or even after you've been vaccinated with an earlier vaccine.

This is not good news.

The world could be on a near endless ferris wheel, believing we are making progress, but being outfoxed by variants and mutations.

Update February 23, 2021: Been a while since we've updated on the virus, as media coverage is available, if scattered.

Viruses mutate. We should expect variants of the coronavirus which causes Covid-19.
The counties where the California variant L452R has been detected include:

Santa Clara County
Humboldt
Lake
Los Angeles
Mono
Monterey
Orange
Riverside
San Francisco
San Bernardino
San Diego
San Luis Obispo

L452R is one of 4 major variants currently circulating in California.

Please keep safe.

As of January 2021, there are 3 variants being monitored and studied by the CDC.

The CDC has been conducting SARS-CoV-2 this strain surveillance to build a collection of SARS-CoV-2 specimens and sequences
to support public health response. Routine analysis of the available genetic sequence data will enable CDC and its public health partners
to identify variant viruses for further characterization.

The death toll in the United States stands at 513,055 people. No adjectives can do that fatality figure justice.
And while no amount of agonizing can bring back those people who have died, there should be no doubt that that we could have done better
in a coordinated, unified, swift response to this pandemic, instead of the leaderless, planless, lies which came from the Trump white house.

That is a secondary, and preventable, source for sorrow.

Welcome to 2021.

Each week, from the empty stage to the final curtain, we feature a time-line still from "Hamilton" to remind ourselves to feed the roots of democracy.

From the Front Office: I Will Remember This Day.

Today is Saturday, February 13, 2021.

It seems as if the “1984” of George Orwell has arrived.

There has never been a more corrosive and corrupt leader than Donald J. Trump.

There has never been a greater betrayal of the office of the President of the United States.

The vote was 57-43. Two thirds of the U.S. Senators failed to convict Donald Trump, former President of the United States, of incitement of insurrection.

"The Party told you to reject the evidence of your eyes and ears. It was their final, most essential command." -- George Orwell, "1984"

All the evidence was there.

It has always been there. But it was presented clearly, and more irrefutably, than ever.

The evidence established that Trump orchestrated and inflamed supporters to violence, monitoring and especially cultivating, praising and encouraging extremist elements, calling them patriots, to culminate in the January 6 violence at the Capitol.

January 6 was Trump's work. Trump supporters were told they were patriots, and they believed this was a war.
Even the FBI warned of the upcoming expected violence, pointing to hundreds of posts calling for violence on January 6.

And in response to this intelligence and these warnings, Trump did not speak publicly to quell or quiet the looming planned violence.
Instead, President Trump publicly tweeted 34 inflammatory messages to ensure that the January 6 rioters would fulfill Trump's goal to stop the election certification.

Then, on January 6, in front of a jumped-up crowd, Trump publicly urged them to fight, saying he would march with them to the Capitol.

Then, Trump failed to send law enforcement to protect the Vice President, members of the House, while they were under attack.

Trump watched it.

And Trump even rebuffed a call from desperate officials to stop the attack.

Then, after the Capitol attack, Trump again claimed the election was stolen, and called the insurgents “patriots”. Trump asked those rioters to “Remember this day”.

I will remember that day, as I watched the violent and intentional fruits of Trumps I unfold. I will remember the chants of hanging,
of a mob hunting down elected officials to harm them, and stop the election certification in order to overturn the results.

If you are one of the 43 senators who voted to acquit this man of treason in the context of impeachment, the raging violence coming in the next five years will be on your head.

If you are one of the 43 senators who voted to acquit him because you were afraid to incur the wrath of your party’s loyalty, you cowards have put your self-interest ahead of your oaths of office.

If you are one of the 57 senators who voted to convict President Trump for his actions, thank you for upholding your oaths of office, and putting aside
whether your political party would move against you in re-election bids.

To those rioters, and those who aided them, actively, or behind the scenes, or especially inside the halls of our Capitol, and who feel they are vindicated in this attack, we see you clearly.

To those public officials who would pervert, usurp and abuse their offices for personal gain and power, we see you clearly.

We see you clearly.

We are on guard.

We are watching you.

The Pattern and Practice of ABUSE OF POWER

From start to finish, during the campaign, and the four years he held office, Trumps's true legacy is the abuse of power.

Trump's Threatening Call to Georgia Secretary of State Brad Raffensperger

"So what are we going to do here, folks? I only need 11,000 votes. Fellas, I need 11,000 votes. Give me a break." - Donald Trump
Recorded phone call by Trump to Georgia Secretary of State urging to "find" Trump votes in violation of the lawful election results.

Title 52 U.S. Section 20511 states: “A person, including an election official, who in any election for Federal office...knowingly and willfully deprives, defrauds, or attempts to deprive or defraud the residents of a State of a fair and impartially conducted election process, by...the procurement, casting, or tabulation of ballots that are known by the person to be materially false, fictitious, or fraudulent under the laws of the State in which the election is held” is subject to imprisonment of up to five years.

Title 18 Section 875 of the U.S. Code reads: “Whoever, with intent to extort from any person, firm, association, or corporation, any money or other thing of value, transmits in interstate or foreign commerce any communication containing any threat to injure the property or reputation of the addressee or of another or the reputation of a deceased person or any threat to accuse the addressee or any other person of a crime, shall be fined under this title or imprisoned not more than two years, or both.”

Happy Birthday to Sir Kenneth Branagh, born December 10, 1960.

Every year, members of the Ken Friends raise funds in support of RADA and the Scholarship Fund to support aspiring actors in their training.
In 2020, for his 60th birthday, the amount of £3,259 was donated to The William and Frances Branagh Memorial Fund in honor of
Sir Kenneth Branagh and his continuing leadership and excellence in the arts.

A Thank-You From Sir Kenneth Branagh

Dear Friends,

It is often in a wet and windy January, (like the day today), where I get the chance to fully savour and appreciate
the astonishing kindness of the birthday tributes paid by the Ken Friends.

It’s been such a heck of a year for everyone, that it really seems remarkable that you found the resources to make
yet another massive donation to funds at RADA (never more needed or appreciated), and also have space in your minds
and hearts, to offer me such generous advice and support. I appreciate both deeply. Thank you.

And I very, very much hope that you and yours, have coped and are coping with the ongoing challenges of the pandemic,
with as much joy (and good health), as you can find.

Thank you again, Friends.

This can seem like a darkish time for the world. On my sixtieth Birthday, your kindness, support, love, generosity,
and all-round good-eggness made my part of it, quite a bit lighter.

A Happy New Year to you all, from your friend, Ken

True Fact: Sir Ken was responsible for telling Director Chris Nolan that the dock scene in "Dunkirk" required a word to button down the moment.
The result was "Home" - spoken by Branagh with aching longing as he looks across the sea.

20 Songs for 2020: Bay Area Artists' Gift of Music - A survey from 48 Hills

Enjoy the single "Sunshine" from Criibaby and the Best of the Bay Area Beats mixtape.

Margaret Atwood reads poetry for the New Yorker. Loss, memory. .

2021 - A Deadline to Deal with Climate Destruction

"We need to do things now."Environmentalist novelist and poet Margaret Atwood talks with climate activist Greta Thunberg.

“The IPCC has sounded many alarms, and the world just keeps smashing the alarm and keeps on sleeping.”
---- Hans Joachim Schellnhuber, founder of the Potsdam Institute for Climate Impact Research, Dec 14, 2018.

Criibaby's gender-neutral, intentionally inclusive debut EP, "Love Songs For Everyone" is here!

Buy it today at Bandcamp!

Dropping just in time for National Coming Out Day! Available for streaming wherever you listen.

Link Tree for Criibaby

"An employer who fires an individual merely for being gay or transgender defies the law."

Supreme Court of the United States ruling in 590 U. S. Nos. 17–1618, 17–1623 and 18–107 (2020)

"In our time, few pieces of federal legislation rank in significance with the Civil Rights Act of 1964. There, in Title VII, Congress outlawed discrimination in the workplace on the basis of race, color, religion, sex, or national origin. Today, we must decide whether an employer can fire someone simply for being homosexual or transgender. The answer is clear. An employer who fires an individual for being homosexual or transgender fires that person for traits or actions it would not have questioned in members of a different sex. Sex plays a necessary and undisguisable role in the decision, exactly what Title VII forbids."

"Those who adopted the Civil Rights Act might not have anticipated their work would lead to this particular result. Likely, they weren’t thinking about many of the Act’s consequences that have become apparent over the years, including its prohibition against discrimination on the basis of motherhood or its ban on the sexual harassment of male employees. But the limits of the drafters’ imagination supply no reason to ignore the law’s demands. When the express terms of a statute give us one answer and extratextual considerations suggest another, it’s no contest. Only the written word is the law, and all persons are entitled to its benefit."

"In Title VII, Congress adopted broad language making it illegal for an employer to rely on an employee’s sex when deciding to fire that employee. We do not hesitate to recognize today a necessary consequence of that legislative choice: An employer who fires an individual merely for being gay or transgender defies the law.

"The judgments of the Second and Sixth Circuits in Nos. 17–1623 and 18–107 are affirmed.
The judgment of the Eleventh Circuit in No. 17–1618 is reversed, and the case is remanded for further proceedings consistent with this opinion.

It is so ordered."

What's Up Music: Criibaby "Some Kinda Voodoo" is the new single from criibaby

How do you Voodoo?

DiamondKesawn talks with Criibaby about her music

The Daring Dozen: genre-defying musicians.
"By intentionally avoiding gender-specific words like "she" or "he" Criibaby's music becomes more inclusive,
and refrains from promoting a heteronormative, gender binary-focused viewpoint of relationships."

Criibaby shares 10 LGBTQ+ artists for fans to check out this Pride weekend over at Earmilk.

For Criibaby, “Pride is every day. And it’s thanks to those who fought- and keep fighting- for all of us.”

Hear Criibaby's new single "Some Kinda Voodoo" nowon Spotify.

The art of pushing boundaries and making catchy love songs with criibaby

Review of "Some Kinda Voodoo" at Stereofox

The debut single "Sunshine" dropped from criibaby back on February 14, 2020.
Celebrate with the inclusive music of criibaby

Play it now

What's Up Music: criibaby's single "Sunshine" hit over 20K listens on Spotify!
The neo-soul hit was featured in Spotify's "Discover Weekly" playlist. What are you waiting for?

Put your headphones on, or turn your speakers up so your housemates can groove too.

Marin Theatre Company presents the West Coast premiere of Mother of the Maid, directed by Jasson Minadakis.

Mother of the Maid

Playwright Jane Anderson had a suit of armor when she was eight years of age, being obsessed, as she calls it, with Joan of Arc.
In what Ms. Anderson calls her most personal play, she imagines what happens to a family when a peasant girl in France follows an ultimately tragic path to a terrible end.

A country girl like Joan Arc (Rosie Hallet) will have no agency, no autonomy, and at best can hope to be married off to a suitable village boy. Instead Joan embraces a very different divine decree with ferocity and steadfast determination. Her mother Isabelle Arc (Sherman Fracher) looms the threads that keep the fabric of her family connected. She prods, cajoles, erupts, tamps down, and smoothes the way. She launches 10 words for every silence of her husband. Her belief in the decency of humanity means she does not astutely sense the dangers her daughter courts. Though unschooled and unwise in the wider ways of the world, she is quick and able, a believer in God and God’s will, and a mighty force. She is the every-mom.

Joan has a clear-eyed and no-nonsense father Jacques (Scott Coopwood) who suffers no fools. This includes his innocent teenage daughter whom he will protect against herself—by force if necessary. Her doting and playful brother Pierre (Brennan-Pickman Thoon) indulges her to best her or engages in sibling squabbles-- giving and getting, but with the imprimatur that comes from being male. Pierre prefers mead and a good meal to daily manual labor; he is happy enough to leave such a rustic life behind when asked. He is furthest from imagining the dangers his sister will face when he travels to court to keep Joan safe. The members of the Arc family know what’s expected of them, in their relationships, in their village and they’ve accepted the terms of service, because that’s just how it is.

Except for Joan. She will walk her mother Isabelle--who is compelled to support her daughter--right up to the portal of destiny, then through it.

Courage or folly? Do you give your young daughter the freedom she demands? What if she knowingly places herself in mortal danger? What are the ways in which we show love?

Mother of the Maid at Marin Theatre Company, through December 15, 2019.

Brennan Pickman-Thoon stars as Tennessee Williams in "The Gentleman Caller" at the New Conservatory Theatre Center in San Francisco.

In 1944, a flamboyant young writer named Tennessee Williams (Brennan Pickman-Thoon) is preparing for the world premiere of his play "The Gentleman Caller" - which is to become the master work, "The Glass Menagerie." During that same year, a closeted theatre critic from Independence Kansas named William Inge (Adam Niemann) serves as Arts Editor for the St. Louis Star-Times, but longs to follow his own true muse and become a playwright.

In creating his fictional account, playwright Philip Dawkins has Williams languidly introduce himself to the audience and set the stage and terms of the night's exploration. As the iconic but painfully, exquisitely, human Tennessee Williams, Brennan Pickman-Thoon cuddles up to everyone in the room--much as he cuddles up to Inge, his sole focus on the stage--but in speaking directly to us, we are already taken into his confidence, on his side, in on the gentle jokes and jibes. From the first moment, we are seduced by this silver-tongued man who yearns for intimacy, yet wears his protective garments whether his trousers are on or off. A carefully-scripted look into the hearts and minds of two men struggling with the meaning and iterations of life and love, and the grit it takes to go on living. What is the definition of love? Being at ease? What if you can never feel at ease, never let down your guard?

"The Gentleman Caller" opens on April 5, 2019 and runs through May 5, 2019 at the New Conservatory Theatre Center, San Francisco, in its regional premiere.
Philip Dawkins' play is directed by Arturo Catricala.

Westie the Wokest Dog at the San Francisco Women's March

 

Timon of Athens, directed by Rob Melrose, at the Cutting Ball Theatre. Previews begin 30 March.
Update: Performances extended through 6 May 2018.

As Timon, "Brennan Pickman-Thoon’s portrayal is stellar, at one point depicting a business-like but blithe adherence to the social contract with ramrod assurance and later, with reptilian writhing, revealing contempt and rage for the values and people who surround him." -- For All Events, Victor Cordell

"From the elegant suited philanthropist of the first act to the degraded, madman of the later scenes, Brennan Pickman-Thoon inhabits his character with a dedication that elevates his performance to lofty heights. It’s both a deeply introspective and athletic role and Brennan breathes life into this seldom seen character. Like Hamlet, Timon has the traits of a tortured soul and bares them to us with a vulnerability and rawness that is electrifying to behold. I had the opportunity to see Stephen Spinella's two-time Tony-winning performance in Tony Kushner’s very Shakespearean-esque Angels in America. With Timon of Athens, Brennan Pickman-Thoon has his very own Prior Walter."
-- For All Events, Steve Murray

“The moon's an arrant thief, and her pale fire she snatches from the sun.” -- Timon of Athens

What's Up Art: More Stanley Donwood

Radiohead: The King of Limbs

What's Up Music:

Radiohead - The Zen Album
The King of Limbs: Explore, Expand, Embrace

Here, and more here, on the music page.

What's Up Art: More Stanley Donwood

Stanley Donwood in the Panic Office: The Art of the Bear at the Carriageworks in Sydney

From a 1996 interview with Kenneth Branagh

KB: Shakespeare always denies sleep to his tragic heroes in moments of crisis, a spectacular example being Macbeth. In Macbeth he calls it "nature's balm... the cure for hurt minds." You don't get sleep because you are anxious.

CMM: Do you still feel daunted when you start a project, or when you arrive on the set for the first day of shooting?

KB: Getting sleep is a tough thing to do. It's a constant anxiety, and I'll go through various things: I'll take some sleeping pills, I'll take some herbal pills, I'll try to have a massage, or anything that will trick me into getting the sleep that is necessary. That's a crucial thing; it's a very Shakespearean thing. Shakespeare always denies sleep to his tragic heroes in moments of crisis, a spectacular example being Macbeth. In Macbeth he calls it "nature's balm... the cure for hurt minds." You don't get sleep because you are anxious.

CMM: As an actor or as a director?

KB: In both cases. As an actor because you are aware of a greater amount of expectation, particularly from yourself, in playing a role that is so open to interpretation, which relies so heavily on the personality of the actor. Whether it's Shakespeare or anything else, your try to find, in the current state of knowledge, what you think to be the sort of appropriate state of preparation to act well.

This is a constant mystery to me, because it changes all the time. It changes as you get older, you work with different people, it's a different project, you're having a bad day, you're having a good day, it worked yesterday when you had drank a cup of coffee before the take, but then a cup of coffee makes you forget your lines... You get anxious as an actor; and as a director, you're anxious for other people.

CMM: You've done Hamlet several times on stage, for different directors, and you've done a radio version. Was there a sense here, because this is a big-budget film, or because of your age, that this Hamlet was going to be your last crack at it, that this is the version that's going to fix it?

KB: Absolutely. "Time's winged chariot" was hurrying very near. What I tried to do was to convince myself, with many years of preparation, direct and indirect, experience in playing the part, with my own relationship with the part, with all the homework in the world done, that, in a way that couldn't really happen when I did Henry V, my obligation as Hamlet was, once that camera turned, to be as real and as natural and as truthful as possible in the moment, within the style of what we were doing, and to forget about all that information, forget about what you prepared. Julie Christie used to say to me, "You do it different every time, don't you?" I said, "If you say it different to me, I'll say it different to you." It's just however it comes out.

We've got to trust the work we've done. I don't believe in trying, on film, to repeat some loved moment from the theater, recreating something, repeating things --"I was terribly effective when I did the line like that." I like to try to give it away, and just, in that moment, to have worked up to the point where you might be able to leap off into some inspirational percentage, that you and the other actors might just catch something so that your scene and the performance sings a bit in that kind of mysterious way.

CMM: Can you give me an example from the film?

KB: The closet scene was different with Julie Christie than any time I had played it before. There's one specific scene -- it's a scene I like very much -- the "recorder" scene, with Rosencrantz and Guildenstern, after the play. We were in this tight space in this little theater we created, and the camera crew and everybody was saying, "You should break this up -- this shot here, this shot there -- let's block it so that we can cover it from six or seven different angles." And I said, "No, I feel that we should do this in one." I've always wanted that scene in the theater to go like some whippet; Hamlet is in a way at his least attractive, but he's also at his wittiest, with his extraordinary aggression against these two lads. We had everybody kind of cooking at the right time, and I thought the scene was funny and vicious.

We did a number of things in the film where we shot things in one, which puts some real flame under the actors. They get kind of nervous; it creates a kind of theatrical effect. It actually helped to create conditions, as I thought, that were conducive to bringing out that sort of extra under-the-skin kind of tingle that the audience can feel, I'm sure, when it's happening right in front of you, and you don't know what's going to happen next.

CMM: Are stage actors or film actors more receptive to that kind of approach?

KB: I find my best experiences are with people who do a combination of the two. What you do have from stage actors is an ability to learn three or four pages of dialogue, and to be able to come up with it zippily, and not need to do it line by line. If you've got actors who can remember it and are really on the tips of their toes about it, and they're also good film actors, then I think you get the best of both worlds. I sometimes feel frustrated when I want to do things with the camera and with the scene, which, I believe, essentially, gives the scene to the actors, and an actor can't sustain it for over a minute or so. But, what these [film] actors do have often is, in the moments they produce, an absolute, laser-beam radio-signal connection with the truth.

CMM: What's still out there that you want to do?

KB: In the not so distant future, if I have the chance to do them, Love's Labour's Lost and Macbeth. I want to do Love's Labour's Lost as a musical. I've always liked the play. It's very funny, very melancholy, very unusual, and has this peculiar Shakespearean magic in there, it really breaks your heart at the end, and it's also silly -- very, very silly.

 

I find that I get an idea about the world in which it's set, the period if you like (though I try to make all our periods pretty loose), and then you just keep putting every scene and every character up against that idea to see whether it's going to limit it or work for that character. For Macbeth, it's witchcraft -- you really have to find a world in which you believe that witchcraft is in the air, that it's real. I want get a world going for the characters where the witchcraft really sends shivers down your spine, so that you know, when Macbeth knows, when he makes this pact with the devil's representatives, how very serious it is; so religion has to be very important. Then the marriage between Macbeth and Lady Macbeth -- that marriage has to be very carefully set. She says, "I have given suck," and yet they don't have children; is she older, is she younger? And it's Scotland. You get an idea, you get pictures. And these I find are "anchor pictures."

With each of those plays now, in terms of the development of a film, I've got several scenes in each (many more in Love's Labour's than in Macbeth) where I can see the film and hear it. I can see the dance routine in Love's Labour's Lost: I can see a fantastic library, a fantastic circular library, and a dance routine on skateboards (but it's not a set now; a version of skateboards), and with them going all the way around the ceiling. I can see the women on punts on a river.

So I'm currently bashing away at those two plays. I carry copies of the plays with me (I've got them in my bag), and I'll sit and study a scene for a bit, and make notes, and work up some storyboarded images.

Excerpt from an interview with Kenneth Branagh in the Mainichi Weekly Online
20 July 2007

Q: According to your biography, you left Belfast when you were 9 to escape the Troubles. Do you think your experience of the conflict there influences your battle scenes?

A: I think it makes me aware of how easy it is for people to hate, rather than to love. I think it's a very exciting time in Northern Ireland right now. Politically, a massive, massive shift has occurred, and ancient hatreds have been put aside. I think an awareness of conflict and the need to resolve, the need for peace was very much part of my background. And this film [The Magic Flute, directed by Branagh] certainly is about the need for peace.

Q: What is your motto in life?

A: A good question. A hard question. It sounds like a cliche, but there is a line from Hamlet, at the end, where he says, "The readiness is all." In that context, it's probably about being ready for death, but I think it's a motto for me and it's about trying to be open in life, be open to experience, be open to situations and to people. And be ready, be ready to be surprised, sometimes be ready to be disappointed, be ready to be excited and be ready for anything. But be ready for things to change. Be active and positive. I suppose another way of saying the same thing would be: 'Anything can happen, enjoy it.'"

For more background on Branagh's film version of Hamlet, try The Readiness is All -- The Filming of Hamlet

Kenneth Branagh in David Mamet's "Edmond". Reviews and photos of Branagh at the National Theatre.

Offsite Offerings

Need Shakespeare? Check here for outside Shakespeare links.

Need a Shax monologue? Try the Monologue Archive.

Read Shakespeare here, at the Literature Network online.

Go to Page 2 of the Front Page

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Features of the Daily Telegiraffe

What's Up: BOOKS Sarah Hatchuel, "Branagh and The Bard: A Companion to the Shakespearean Films of Kenneth Branagh"

What's Up: FILM Waking Will Divinely: Shakespeare in Love

What's Up: STAGE Kenneth Branagh's Macbeth

__________________________________________________________________________________

*** DID YOU KNOW? ***

NEW YORK - "Hamlet" was chosen as the greatest poem of the millenium in the New York Times Magazine millenium review!

LONDON (Reuters) - William Shakespeare was picked as Britain's "Man of the Millennium" by a poll of BBC radio listeners!

ENJOY . . . Chosen as the greatest poem of the millenium, Hamlet endures.

ENJOY . . . Who is the "Greatest Fictional Character in World Literature and Legend" - - one guess.
With the Austen lover's link.

ENJOY . . . Back issues of our features, indexed by subject on the front page, and on current feature pages.

ENJOY . . . Programme notes from the NFT's Branagh Retrospective, now added off of the Hamlet page.

ENJOY . . . Gertrude and Claudius, a book by John Updike, explores the new King and Queen.

ENJOY . . . Shakespeare in Less Than 10 Minutes Review of a video of restorations of the earliest surviving silent Shakespeare films from 1899-1911. Also, can you choose your five favourite Shakespeare films? Check your picks against Kenneth Branagh's choices.

ENJOY . . . Director Michael Almereyda's film "collage" of a knit-hatted Ethan Hawke as a Gen-X slacker. Our review of his Hamlet is here.

Almereyda does Denmark as a corporate prison. From the New York Times: Two Fortinbrases and the Ghosts of Hamlets Past. The last stage Hamlet of 1999 in New York becomes a photo album of Hamlets past, including Branagh, Olivier, and Gibson. Added: The New York Post muses on performing Hamlet.

ENJOY . . . Glimpses of genius. In praise of HAMLET: Kenneth Branagh's film version captures the soul of Hamlet.

Also find on the Hamlet Page an interview with Kenneth Branagh (now with photograph) and an account of the London benefit screening of Hamlet, at which Branagh appeared.

ENJOY . . . The New York Times review of "Discovering Hamlet" a short film which documents Branagh's early take on the stage role under the direction of Sir Derek Jacobi.

ENJOY . . . Kenneth Branagh's interview at his NFT Retrospective, as conducted by the Guardian newspaper. Complete text, and complete Questions and Answers now available.

ENJOY . . . The films " Onegin" and "The End of the Affair" open with reviews, interviews, and photographs. Fiennes has been searching for Pushkin's anti-hero Eugene Oneginfor some time.

USING THE DAILY TELEGIRAFFE

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What's Up: BOOKS

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