Falun Dafa by USPS

Winter hasn’t been very bitter so far. Yet. All of last week’s light snow has melted. But the polar vortex hammer could still drop. Hard.

Back to posting on January 21. I take holidays where I can get ’em, even in the stony bleak mid-winter.

The following is an example of a small item, a throw-away item — literally, though I’m going to put it in the blue recycle bin — with a long story trailing behind it. Today in the mail I received a high-quality pamphlet, 16 glossy pages, rich bright colors, advertising the Shen Yun dance show in the Chicago area this spring. It’s merely the latest example of advertising created by what must be a deep marketing budget for that show.

Mostly I’ve been ignoring the marketing. Maybe it’s the oversell. “A Life-Changing Experience,” the cover proclaims. Gee, I hope not. Inside: “A Gift from the Heavens,” “Watch 5,000 years unfold before your eyes,” “the Divine Origin of a Glorious Civilization.” Sure, whatever you say.

It’s probably a corker of a show, if you like that kind of spectacle, though I doubt — as the pamphlet implies visually — that any of the dancers can actually fly. Then again, I suppose a fantasy counterpart culture of imperial China has some appeal. Just not for me. Well, I might go if I didn’t have to pay.

More interesting to me is text box on the last page. It says, in bold letters: CANNOT BE SEEN IN COMMUNIST CHINA.

“Traditional Chinese culture — with its deep spiritual roots and profound worldview — was displaced by communism in China. While Shen Yun cannot perform in mainland China today, we are reviving this precious heritage and sharing it with the world.”

Hm. I looked a little further. The return address for the pamphlet, for it did come in the mail, cites the Mid-USA Falun Dafa Association as the sender.

Ah. Falun Dafa (Gong), whom the Chinese government hates so much. Seems like the show, then, is a way for the religion, persecuted as it is in China, to poke the Chinese government in the eye. That’s a sentiment we can all get behind, but I’m still not paying to see the show.

Richard III

In our lifetime, only five years ago, Richard III got a spiffy tomb at Leicester Cathedral, after centuries in an anonymous grave not far away. That came to mind when Ann and I went into the city on Saturday to see a reading of Richard III at the Newberry Library.

It was the same setup as last year, when we saw Titus Andronicus: actors reading their parts, holding scripts, while moving around one of the library’s large rooms, in front of and to the side of the audience. Outside wind blew and rain fell, just above freezing, so that might account for the slightly smaller crowd than last year, but even so a lot of people came out for the tale of murder, intrigue, more murder, double-dealing and a violent denouement. Everything you need in an Elizabethan history play.

Very talented actors, so the lack of any set or costumes didn’t matter. Christopher Prentice, who played Richard, did the demented villain to just the right pitch, and moved himself in ways that didn’t exactly suggest a hunchback, but weren’t quite normal either, and strangely menacing.

One more thing. Here’s the mission statement of the Richard III Society, which was instrumental in finding the king’s bones in our time: “In the belief that many features of the traditional accounts of the character and career of Richard III are neither supported by sufficient evidence nor reasonably tenable, the Society aims to promote, in every possible way, research into the life and times of Richard III, and to secure a reassessment of the material relating to this period, and of the role of this monarch in English history.”

I’m all for historical inquiry, but even so — Richard III gets to be a villain. The literary Richard III is more robust than any historic portrait of him is ever likely to be.

The Merchant of Venice

On Saturday Ann and I went to the North Side of Chicago to the Pride Arts Center to see The Merchant of Venice as performed on a small stage by Invictus Theatre Co., which did a first-rate job.

Besides enjoying the steady stream Shakespearean turns of phrase — as with any of his works — by seeing that play, we were also dipping our toes into the unending argument about how to interpret the play and especially Shylock.

The modern urge is to want Shylock to be sympathetic, and he is sometimes, such as in his righteous anger. Yet sometimes he’s not, as when he bemoans not his lost daughter, but the money she took with her. I doubt that Elizabethan audiences concerned themselves much with understanding Shylock, however nuanced Shakespeare made him. They just were looking to be entertained, and probably booing and hissing at Shylock was fully part of that.

But we bring centuries of further history with us when we see the play. Invictus referenced this explicitly by setting the action in Fascist Italy, with costumes specific to that period — including the stylish dresses of upper-class women of the time, but also blackshirts. The setting added an extra layer of menace to the situation Shylock found himself in, making him easier to sympathize with.

Also emphasized: Shylock as an outsider. Joseph Beal, who did a fine turn with the part, played it with a Yiddish accent, which might not have meant anything to Venetians of 1600 or even 1938, but which marks him apart from the rest of the cast to our ears.

There are comic elements in the play, of course, some of which actually were funny, especially when Portia’s suitors mulled which box to pick to win her hand. A young actor named Jack Morsovillo briefly stole the show as the comic Arragon in that scene. Though it wasn’t all that funny, the play also featured the comic conceit of two men unable to recognize their wives simply because they were pretending to be men.

In this production, a silent addition marked the end of the play. Jessica, the daughter who abandoned Shylock, emerges on one side of the stage, looking miserably torn about the decision she’s made. Shylock emerges on the other side of the stage, looking at her. Are they going to reconcile? Quarrel? Before anything is said, two blackshirts come from behind Shylock, grab him and take him away.

Quite an ending, even if appended for a modern audience, for a play that’s technically a comedy. So the production was squarely in this new(ish) tradition — since the 19th century, I believe — of making Shylock more victim than monster, but hardly all victim. Well done, Invictus.

Colonial Williamsburg

Things to bring to Colonial Williamsburg: money, walking shoes, water (especially in summer) and — I can’t stress this enough — some historical imagination. Not everyone has much. I understand that. Still, if you can’t bring much historical imagination to your visit, best to go somewhere else.

A look at a few of the recent “terrible” reviews of Colonial Williamsburg on TripAdvisor illustrates the point (all sic).

Mrpetsaver: This place is like that fort or museum with old buildings common in some communities, but on a larger scale.

My kids got bored very quickly and so did I. Most of the staff are great and professional dressed up in costumes, but aren’t acting. Instead, they discuss how the original inhabitants did their different jobs etc.

Dewpayne: It has some very interesting sites but there so far away you get bored it’s more about the shops and selling water I wouldn’t recommend it.

zebra051819: This historical site was a huge disappointment and I would not recommend spending your time here. There must be more informative sites where one could gain an appreciation of Civil War history.

Mrpetsaver is right, though. Colonial Williamsburg is a larger version of an open-air museum. It is an open-air museum. One on a grand scale, the likes of which we’d only experienced — sort of — at Greenfield Village.

Colonial Williamsburg shouldn’t be confused with Williamsburg, Virginia, which is a town of around 14,500 on the lower reaches of the James River. As a 21st-century American town, it has the usual amenities, such as honky-tonks (maybe), Dairy Queens and 7-11s, where you can buy cherry pies, candy bars and chocolate-chip cookies.

Colonial Williamsburg, on the other hand, occupies 173 acres and includes 88 original buildings and more than 50 major reconstructions. All of Colonial Williamsburg is within modern Williamsburg, but not all of modern Williamsburg involves Colonial Williamsburg. A fair bit of it doesn’t, according to maps.

A hundred years ago, Williamsburg was a small college town with a history, namely as the second capital of Virginia when it was a prosperous tobacco colony. No doubt the story of how Colonial Williamsburg came to be in the early 20th century is fairly complicated, with a number of major players, but I’m going to oversimplify by saying that Money wanted it to happen, as persuaded by Preservationism.

Money in the form of Rockefeller scion John D. Rockefeller Jr., who had the deep pockets necessary to start the purchase and restoration of the historic sites, and Preservationism in the form of W.A.R. Goodwin (1869–1939), rector of Bruton Parish Church in Williamsburg, who felt alarmed that the 20th century was eating away at the area’s historic structures.

Colonial Williamsburg is a odd hybrid of past and present, but also of museum and neighborhood. The foundation that runs the museum doesn’t play it up — and some of the disappointed TripAdvisor reviews note it ruefully — but it turns out that you don’t need a ticket to wander along the streets of Colonial Williamsburg.

Cars aren’t allowed on the streets during museum hours, but visitors are perfectly free to park a few blocks away and walk around. That’s because the town of Williamsburg still owns the streets and sidewalks, making them public thoroughfares.

Also — another thing the foundation doesn’t dwell on — people live in Colonial Williamsburg. “There are dozens of people — families, couples, college students — who live in some of the historic homes of Colonial Williamsburg,” says Local Scoop. “Many of the homes are original colonial-era buildings; others were rebuilt based on historical accounts to look like the homes they once were.

“It’s not a perk available to everyone. To live in the Historic Area, one has to work at Colonial Williamsburg or be an employee at the College of William & Mary. In all, there are 75 houses rented through the Colonial Williamsburg Foundation…”

I found this out when I was there, and pretty soon I started noticing that a fair number of the houses had small signs denoting them as private residences. I also noticed a few people doing neighborhood sorts of things, like jogging or walking their dogs, as opposed to tourist sorts of things.

So why buy a ticket? That’s so you can see the interiors of the many buildings flying the Grand Union flag. They mark the open-air museum’s buildings.
Colonial WilliamsburgAlso, your ticket gets you into some Colonial Williamsburg events, many of which involve reenactors. So we got tickets. At $45 each, and no student discount (grumble), that’s more than Henry Ford/Greenfield, in the same league as some theater tickets and some theme parks, and less than other theme parks (whose mascot is a Mouse).

At that price, I was determined to wear out my feet. So we did, spending October 14 from late morning to late afternoon at Colonial Williamsburg. At the end, I felt like I’d gotten my money’s worth. I’m a sucker for open-air museums, for one thing, but more than that, it is a special place with a lot to see and think about, if you add a dash of historical imagination.

You walk from the visitor center along a wooded path until you come to the historic buildings. The first one of any heft is the Governor’s Palace.
Colonial WilliamsburgColonial WilliamsburgColonial WilliamsburgMaybe no grand thing back in England, but for colonial Virginia, a worthy residence for the gov. What you see now is a reconstruction from plans and, according to the guide on the interior tour that we joined, archaeological investigation of the materials left when the building collapsed in a fire in 1781, not long after Gov. Jefferson had decamped to Richmond.

When it burned, the structure was being used as a hospital for men wounded at the Battle of Yorktown. All of them but one escaped the fire, the guide said. I told Ann we should listen for that unfortunate fellow’s ghost. She told me to shush.

From there we wandered down the Palace Green to Duke of Gloucester St., pretty much the main street of the historic area. The view from the other end of the Palace Green.
Colonial WilliamsburgNearby is the Bruton Parish Church. It isn’t one of the Colonial Williamsburg buildings, but people go in as if it were. We did. A couple of parishioners were on hand to tell visitors about the church.
Bruton Parish ChurchBruton Parish ChurchThe building dates from the 1710s, but according to this history, it didn’t look much like the original by the mid-1800s, after various alterations and modernizations. Like Colonial Williamsburg, the church was restored to its 18th-century appearance only in the early 20th century.

The church’s graveyard was fenced in, but you could get a pretty good look at it anyway.
Bruton Parish ChurchBruton Parish ChurchSome of the stones were close to the church itself.
Bruton Parish ChurchThe stone of Letitia Tyler Semple, one of President Tyler’s many children. A handful of stones were inside, flush with the floor of the church, as you see in old English churches. W.A.R. Goodwin has one of those.

We spent the rest of the day looking at and entering various structures on or near Duke of Glouchester St., such as the Geddy Foundry, the Courthouse, the Market Square, the Magazine, the Printing Office, the Silversmith, Bakery, Apothecary, and Raleigh Tavern, where we saw two reenactors: one playing Marquis de Lafayette and other James Armistead Lafayette, who spied for the Patriots at the Marquis’ request, and, after some inexcusable delays by the state of Virginia, finally won his freedom for his service.

Duke of Glouchester St.
Duke of Glouchester St.The Magazine and its arms.
Duke of Glouchester St.Duke of Glouchester St. MagazineThe Courthouse and nearby stocks. No rotten tomatoes on hand for tossing.
Duke of Glouchester St. Courthouse

Duke of Glouchester St. Courthouse stocks

Botetourt St.
Colonial Williamsburg The reconstructed Capitol was the second-to-last place we visited, taking a late-afternoon tour. Nicely done, I thought, though the authenticity of the redesign has been questioned.
Colonial Williamsburg CapitolColonial Williamsburg CapitolThe last place was Charlton’s Coffeehouse, where a foundation employee (“costumed interpreter”) in 18th-century garb showed us around and served visitors either coffee, tea or hot chocolate. Most of us tried the chocolate, as Ann and I did. Colonial hot chocolate included a variety of flavors not usually associated with modern hot chocolate. If I remember right, almonds, cinnamon and nutmeg in our case, but no rum. Our time is decidedly more abstemious than Colonial days when it comes to alcohol. Tasty anyway.

Some people expect the costumed interpreters to be actors (see above). To varying degrees they were in character, but mostly their job was to explain what went on in a particular building, and in the places like the foundry and silversmith and printing office, demonstrate some of the 18th-century work techniques. I had no complaints.

The fellow in the foundry turned out pewterware before our eyes and the young woman who showed us around the coffeeshop was informative and entertaining, telling us for instance the story of the tax collector (under the Stamp Act, I believe) who was greeted at the coffeehouse by a committee (mob) of citizens who suggested he find other work for himself. Wisely, he did.

There are restaurants at Colonial Williamsburg in some of the “taverns,” but I didn’t want to spend time at a sit-down restaurant when there were other things to see. So we subsisted on snacks during the visit, which are available in Colonial-themed small stores here and there on the grounds.

The 21st-century snacks were good.

The Comedy of Errors

Went to Aurora, Illinois, on Saturday evening for a performance of The Comedy of Errors, the only one in the suburbs this year by Chicago Shakespeare in the Parks.
The play’s the trope-namer, though I expect the idea is much older even than Plautus, and in fact Errors owes a lot to Plautus. It’s a trope big enough to include comic high points like Fawlty Towers (also a comedy of manners) as well as such excrescences as Three’s Company.

Free Shakespeare in the 21st century packs ’em, I’m glad to report.
The Chicago Shakespeare Company, full of talented young actors, handled the material well, including lots of slapstick and wordplay. I suspect some of the more obscure jokes were removed and other points smoothed out, though I’m not an expert on the play. No matter. It was funny.

The show began when the sun was still hot, so Shakespeare-shaped hand fans were available. By the time Errors ended, it was dusk and pretty comfortable there at RiverEdge Park.

Acrobatics and juggling punctuated the play, which I figure is true to the spirit of the earliest performances. And to the staging by the Flying Karamazov Brothers, for that matter. The goal was (is) to entertain, after all. So it does, in competent hands, 400+ years later.

The biggest laughs came when one of the Dromios described being pursued by the other Dromio’s girlfriend, a kitchen wench.

Dromio: Marry, sir, she’s the kitchen wench, and all grease, and I know not what use to put her to but to make a lamp of her and run from her by her own light. If she lives till doomsday, she’ll burn a week longer than the whole world.

Antipholus: What complexion is she of?

Dromio: Swart like my shoe, but her face nothing like so clean kept. For why? She sweats. A man may go overshoes in the grime of it.

Antipholus: That’s a fault that water will mend.

Dromio: No, sir, ’tis in grain; Noah’s flood could not do it.

Antipholus: What’s her name?

Dromio: Nell, sir, but her name and three quarters — that’s an ell and three quarters — will not measure her from hip to hip.

Antipholus: Then she bears some breadth?

Dromio: No longer from head to foot than from hip to hip. She is spherical, like a globe. I could find out countries in her.

Othello

Not long ago we went to the Factory Theater in Chicago’s Rogers Park neighborhood to see a staging of Othello by the Babes With Blades Theatre Company. I suggested we go because I’d never seen that play staged. Also, Ann read it not too long ago for school — wrote some papers and so on, the usual sort of things you do in high school.

The Factory is a small venue, about 70 seats on three sides of a simple stage. As far as I could tell, we saw a completely traditional staging of Othello, complete with well-done period costumes and actual swords and knifes, except for one thing. Babes With Babes is an entirely female theater company.

But not just a female company. A company of players with some specific talents.

According to the BWB web site: “Our initial showcase, in 1997, was conceived by founder Dawn ‘Sam’ Alden as a two-day presentation of fights and monologues, intended to bring to the Chicago art world an awareness of the large number of stage combat-trained women it had in its midst whose talent was being consistently underutilized.”

While not an overly stabby play (unlike Titus Andronicus) Othello certainly has its share of swords and knives as a part of the action, and the troupe handled them well.

More importantly, they handled their parts well. The novelty of women in the parts always played by men — Deveon Bromby as Othello and Kathrynne Wolf as Iago, to name the principals — lasted for a few minutes. Then it wore off and you were simply watching a solid production of Othello.

Wolf was particularly good as Iago. If you’re not going to have a spot-on Iago, a character that believably exults in the art of deceit, you might as well not do the play, since everything turns on that performance.

Much has been made of the muddled motives of Iago, or perhaps his motivelessness, but I’m not sure that matters. If it’s perversely captivating to watch his glee at destroying the Moor, I’d say the actor has done his, and in this case, her job.

A Festival of Music, 1973

I found this bit of ephemera at my mother’s house last year. She had saved it, tucked away in a envelope. I’d forgotten about the event, but it jogged my memory.

Jog might be too strong a verb. I still don’t remember much about the event, including why I participated. I was in the sixth grade, toward the very end of that year, and didn’t usually participate in choruses. Mainly, I think, because I can’t sing. But somehow or other I decided to do it, and there I am along with scores of other kids.
At the time, Alamo Heights had four elementary schools that fed into a single junior high and high school. Among the names of the kids at the three other elementary schools that I didn’t attend, I recognize a lot of people I didn’t know in 1973, but whom I would know by the time I finished high school six years later.

Considering the structure of the district’s schools, and the passage of time, and the way social interaction goes, that isn’t really so strange, and yet it feels strange when I think about it.

Another irrational feeling that comes to me when looking at the list is how normal most of the first names sound. Especially the girls’ names, like Amy, Barbara, Caroline, Laura, Lisa, Lynn, Mary, Melissa, Patricia, Sharon, Susan and variations on Deborah, Julia, Rebecca and Sandra.

The evening’s program.

Three of the four songs by the elementary chorus were from Up With People. I didn’t know that until reading the program recently. Guess they produced the kind of anodyne songs considered good for elementary school children in the early ’70s.

I’ve read a little about that organization, though I can’t say that I know much about it. But I can’t shake the lingering idea that if Ned Flanders founded a cult, it would be something like that.

Merrie England

The point of going to Hyde Park on Sunday wasn’t merely to tool around the neighborhood, though that’s usually fun, but to see the Gilbert & Sullivan Opera Company’s performance of Merrie England at Mandel Hall.

It was the fourth production of theirs we’ve seen, besides Patience (last year) Iolanthe (2017) and Yeomen of the Guard (2015). Seems like the company wanted to do something a little different this year. Like Gilbert & Sullivan, but not Gilbert & Sullivan.

Composer Edward German and librettist Basil Hood collaborated on Merrie England, which had its first run in 1902. G&S might not have been working together by then — Sullivan especially, who had the handicap of being dead — but clearly German & Hood were giving the people what they wanted, for a little while longer anyway. I understand that it was among the last new light operas produced by the D’Oyly Carte Opera Company.

Merrie England has all the same sort of whimsy and nonsense as G&S, set to music and enlivened by dance as in G&S. Supposedly it takes place in the age of Elizabeth I, who makes an appearance, along with other historic figures like Sir Walter Raleigh and the Earl of Essex.

The show has all you need in this kind of comic opera: love declared, thwarted and finally triumphant; word play and a few patter songs; a little swordplay and some chasing around the stage; even a cameo by an actual corgi and a supporting character who unexpectedly breaks out a trombone and starts to play it.

All of the cast struck me as talented, but I particularly enjoyed the comic styling of Jeffrey Luksik as Wilkins, who says he’s “poet and chief player in Shakespeare’s Company” who, in a bit of meta fun, insists that everything is better when put to music.

“I prophesy that he [Shakespeare] hath a misconception of the part of a writer in writing a part, in that he hath too little regard for the matters of singing and dancing; for a time will come when all comedies shall be musical, or the public will have none of them…

Dost remember in ‘To be, or not to be’?
Come the words ‘a sea of trouble’
The applause, I trow, would double
If he forthwith sang a song about the sea!”

Dorian McCall did a fine turn as the Earl of Essex, the villain but not really the villain. As the program notes put it, he has an “even baritone and a rich and flexible voice, recognized as having great style, musically and physically, on stage.”

Also impressive: Emma Sorensen, who played a woodland-dwelling character called Jill-All-Alone, a witch but not really a witch, unless she really was a witch. How such a slender woman can project such a powerful voice is beyond me.

A fuller review — “hijinks and humor galore” is in the apt head — along with a picture of the cast, is at the Hyde Park Herald.

Titus Andronicus

The event we’d gotten up early for on Saturday was a reading of Titus Andronicus at the Newberry Library, done for a few hundred people seated in one of the library’s large rooms. A reading because the actors had scripts with them and there were no sets or much in the way of costumes. But they were good actors and they interacted with each other as if it were a full stage show. So we enjoyed it as much as a standard staging.

Titus Andronicus is an early Shakespeare work, early 1590s, and apparently popular in its time. Later it fell from fashion and has certainly been overshadowed by other Shakespeare plays. After the early 17th century, it wasn’t performed much at all again until the 20th century.

It counts as a revenge play. I can see why. One character is wronged and that sets off a cycle of revenge and more revenge. When Titus Andronicus’ characters seek revenge, things get pretty stabby. The play’s got it all: hate, betrayal, rape, a lot of murder, mutilation, decapitation, even a touch of cannibalism.

I can’t say that the play’s exactly back in fashion, but 21st-century audiences have no shortage of the old ultraviolence in our entertainment, so Titus Andronicus fits right in. Quentin Tarantino ought to do a movie version.

Ruddigore

On Saturday, Ann and I went to see Ruddigore by the same troupe that did The Pirates of Penzance last year, the Savoyaires, who do their shows at a junior high auditorium in Evanston. Musical direction by Timothy Semanik, stage direction by Kingsley Day.

Except for the hard seats, it was a good time. I understand that the work was originally the followup to The Mikado, which must have been a hard act to follow, but Ruddigore was topsy-turvy fun anyway, as Gilbert & Sullivan tends to be. Probably it helps that we have no reason, more than a century later, to compare one work too closely to another that happened to come just before it.

Ann said it was enjoyable too, partly because the story wasn’t quite as convoluted as the other productions she’s seen. Not that the story’s ever the main thing, but as she said, it was nice to be able to keep track of the characters.

All of the main cast acquitted themselves well. I was particularly fond of the energy that Jonathan Joseph Larson, a large man with a large beard, brought to the sailor Richard Dauntless, and Lane Halverson’s amusing performance of the relatively small part of Old Adam, Robin Oakapple’s faithful servant. He has his moment when he’s tasked to abduct a maiden.

There were some laughs. Maybe not as many as in Patience, especially when the Duke of Dunstable emerged in pink tights, but even chuckles are impressive in a work that’s more than 130 years old. Some clever lines I chuckled at:

RICH. And I make bold to ax your honour’s advice. Does your honour know what it is to have a heart?
SIR D. My honour knows what it is to have a complete apparatus for conducting the circulation of the blood through the veins and arteries of the human body.

ROB. My good sir, if I can’t disinherit my own unborn son, whose unborn son can I disinherit?
SIR ROD. Humph! These arguments sound very well, but I can’t help thinking that, if they were reduced to syllogistic form, they wouldn’t hold water.

MAR. Listen – I’ve come to pinch her!
ROSE. Mercy, whom?
MAR. You mean “who.”
ROSE. Nay! It is the accusative after the verb.

Of course, no joke about grammar is as funny as this.