I’ve finally gotten my own latest script to what I’m calling the Scrap Draft (something I invented to go immediately before the more standard Rough Draft, so you can see how much of my creative energy goes into redefining progress…) Point is, before going on with further writers – and you can expect to see series on Sarah Kane and Federico García Lorca soonish, with a full run-through of all of Caryl Churchill‘s full-length plays beyond – I thought I’d retroactively fill a few of the gaps in my series on Brecht. So, hold tight for notes on and lines from Man Equals Man and The Rise and Fall of the City of Mahagonny – perhaps even, maybe belatedly, Mother Courage and Life of Galileo since it seems perverse to leave them out.
Plus, because I’d hate to take your time purely for that kind of announcement, see below to watch Orson Welles’ magisterial Falstaff in his own Shakespeare adaptation Chimes of Midnight. I’ve been somewhat obsessing over the great basso profundo recently – ever since catching One Man Band, a documentary of his last years (via the permanently elevated ubuweb site). What I’d worried might be a glum wallow in genius spurned is checked by Welles’ own spirit (“Sour grapes are not my dish,” he used to say, magnificently) and the accounts of his turning the domestic home into a private stage for bardic play are warming (“He made a great Romeo,” smiles final partner Oja Kodar. “He made a great Juliet, too.”)
One final bonus – see sister site Theatre in Pieces for a short video excerpt of Welles’ all-black Macbeth. I spoil you (occasionally).