What: Cymbeline by William Shakespeare
Where: The Royal Shakespeare Theatre, Stratford-Upon-Avon (RST)
When: 22nd April-27 May, 2023
Who: The Royal Shakespeare Company (RSC)
An excellent production!!
But that does need some explanation and clarification.
What do we have here?
Each season, we award to players rankings according to outstanding performances during the season. Using this system, here’s how the Batters and Pitchers of the New York Yankees placed:
Batters:
The Yankees used 6 starters and 1 “opener” in April. It is fair to say, in that regard, it was a very mixed month. Some good, some bad, some indifferent. We’ll come to that in a moment.
They used thirteen relievers in total. Nick Nelson was used both as the one time opener and a reliever. Those who were solid out of the bullpen were pretty consistent.
There were those who bounced between the major league roster and the alternate training site. Most peculiar of these was Michael King who was excellent but couldn’t seem to do enough to rise in the pecking orderabove those who were struggling.
Let’s survey the whole of the pitching part of the roster:
A Dramatic Narrative based around small sections of the lyrics of songs written performed or recorded by Mr Bob Dylan.
Ninoshka Gomes plays a followerof the Messiah who is tender-hearted but struggles with self-doubt.
Isobel Hirst plays a follower of the Messiah who has a tendency to be judgemental.
The role of the Voice of the Message of the Gospel is played by Darren Hirst
Darren also plays the role of the Voice of the Message of the World.
The duality of his message is shown by the blue line which divides his face.
Moon Culture (Aline Huguelet and Keegan Israel) perform the Dylan song “Saving Grace” after one of the verses of that song is spoken.
Supplementary lines to maintain the direction of the narrative were supplied by the director, Darren Hirst. We claim no copyright on the lyrical sections written by Mr Dylan. We hold the correct licence for use of songswhich are used in worship settings and church performances. No admission charge was charged and the video is not being monetised. This will be the sole performance of this dramatic narrative.
The text of “A Voice from on High” follows.
Mainstream Christian churches in England are not allowed to have community sung worship at the moment, because of the necessary rules imposed by the government during the pandemic.
The churches in England are still allowed to open and of course, the singing of hymns has been a staple of the major denominations for centuries.
Some of the churches that are still open are being inventive. Because solo musicians and singers and small groups are still allowed, here’s one that in previous weeks has incorporated jazz and classical music into his menu of musical items and this week adapted some Bob Dylan songs into the heart of its service.
Here are some of the service highlights:
Well, it’s been an interesting year. Just in case you hadn’t noticed. In the first three months of the year my writing went along in its normal way and then came the the first three lockdowns we’ve experienced in London because of the pandemic. I started that period floating the idea of online performances and interviews to some artists. Some worked out and some didn’t. I interviewed Nad Sylvan (who is also known as lead singer in Steve Hackett’s band) about his trilogy of solo albums. There was an interview with Bob James and Hilary James which was going to be a stand alone interview but has now become part of a series. Then, there was a long essay about Bob Dylan’s “Tell-Tale Signs” box set.
Each of these was well-received and attracted a very healthy readership. And then my eyesight began to fade. And so everything was delayed until surgery brought about improvement in what was a complicated situation.
So, now this week I was able to interview Bob and Hilary for the second time. Appropriately, this time we concentrated on their Christmas Eyes album – just the right time of the year. At the beginning of the interview, there was a short discussion about my situation, which I’ve left in as a personal marker in the sand.
What: The Taming of the Shrew by William Shakespeare
Where: The Royal Shakespeare Theatre, Stratford-Upon-Avon
Who: The Royal Shakespeare Company (RSC)
When: 19th March 2019
The Royal Shakespeare Company when announcing their 2019 season said that they were going to show the relevance of Shakespeare’s writings to the modern era. There is no question that they have attempted this – although they could be accused of majoring only on one contemporary issue.
Like a percussionist surrounded by many instruments but beating on only one drum, they have taken up only the issue of gender. This meant that in the seldom-performed “Timon of Athens”, they left us wondering what the value of the change of gender was – although it did give some opportunity for strong female character actors in the principal roles. Very few of the audience would know the original play well enough to appreciate the difference that making all the lead characters female had made. Then there was As You Like It where the gender swaps caused a complete meltdown in the second half of the play as an already complex plot became just too untidy.
But with The Taming of the Shrew, by George, I believe they may have added in something worthwhile.
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