Who knows why these things happen?
I dreamt a terrible dream about Voldemort ripping the side off a trailer where Harry, Hermione and Ron were hiding in a storm, and taunting Harry to come out into the driving rain and face him.
Then I fell back asleep and dreamt about sitting in John Hannah's lap while he kissed my neck.
And talking to Michael Dorn about the shows we'd acted in together, while Avery Brooks and the rest of the DS9 cast played Frisbee in a carnival field.
*shrug*
Last night at the Coolidge Corner Theater I got to see the filmed version of the play Skylight, written by David Hare and starring Carey Mulligan and Bill Nighy. I'd tried to get a last-minute ticket while we were in London this summer, but no dice. They filmed it a few nights later.
It was just as fabulous as anticipated. Stellar writing and acting. Compelling characters whose backgrounds and motivations and flaws and strengths complicate with each turn of the conversation. Who also symbolize without being reduced to symbols. Good quality recording, other than a few microphone blips like when Mulligan would tuck her hair behind her ear or how loud a pot of sautéing vegetables sounded depending on her angle to the stove.
I'd known it was about a young woman re-encountering an older man she'd had an affair with years earlier. I hadn't known it was more broadly about classism and sexism and terminal illness and cultural tensions between people who pursue business (Nighy's character) and people who pursue careers like teaching and social work (Mulligan's), and whether there can be reconciliation between them (embodied by Nighy's character's son, Edward, played by Matthew Beard). As Hare said in an interview onscreen during the intermission, it was relevant in the 90s when he wrote it on the heels of the Thatcher era, and it's relevant now after (or during?) a similar governmental attitude, there and here.
Turns out the play is coming to NYC in the spring with the same cast. Very much recommended if you're local. If I hadn't seen it last night, I'd go. While the film version of course lacked the vibrancy of attending a live performance, the irony was I was able to see the actors' faces and the details of the set more clearly than would be possible in an affordable theater seat.
Then I fell back asleep and dreamt about sitting in John Hannah's lap while he kissed my neck.
And talking to Michael Dorn about the shows we'd acted in together, while Avery Brooks and the rest of the DS9 cast played Frisbee in a carnival field.
*shrug*
Last night at the Coolidge Corner Theater I got to see the filmed version of the play Skylight, written by David Hare and starring Carey Mulligan and Bill Nighy. I'd tried to get a last-minute ticket while we were in London this summer, but no dice. They filmed it a few nights later.
It was just as fabulous as anticipated. Stellar writing and acting. Compelling characters whose backgrounds and motivations and flaws and strengths complicate with each turn of the conversation. Who also symbolize without being reduced to symbols. Good quality recording, other than a few microphone blips like when Mulligan would tuck her hair behind her ear or how loud a pot of sautéing vegetables sounded depending on her angle to the stove.
I'd known it was about a young woman re-encountering an older man she'd had an affair with years earlier. I hadn't known it was more broadly about classism and sexism and terminal illness and cultural tensions between people who pursue business (Nighy's character) and people who pursue careers like teaching and social work (Mulligan's), and whether there can be reconciliation between them (embodied by Nighy's character's son, Edward, played by Matthew Beard). As Hare said in an interview onscreen during the intermission, it was relevant in the 90s when he wrote it on the heels of the Thatcher era, and it's relevant now after (or during?) a similar governmental attitude, there and here.
Turns out the play is coming to NYC in the spring with the same cast. Very much recommended if you're local. If I hadn't seen it last night, I'd go. While the film version of course lacked the vibrancy of attending a live performance, the irony was I was able to see the actors' faces and the details of the set more clearly than would be possible in an affordable theater seat.