2 comments about Mistero Buffo: The Collected Plays of Dario Fo, Volume 2.

1. "Mistero Buffo,"., alternatively titled "The Comic Mysteries," is a wonderful introduction to the irreverent, playful and imaginative world of Dario Fo, winner of the Nobel Prize for Literature in 1997. If "Mistero Buffo" has a shortcoming, it lies in the fact that it is merely a text and does not embody the vitality of Fo's imaginative work, which relies as much on performance as it does on literary content.

   "Mistero Buffo" draws on the popular and comic tradition of the medieval mystery plays, as well as the tradition of the so-called "jongleur", or traveling comic and mime, whose performances provided a subversive counterpoint to the authority of Church, Monarchy and Lord. As the jongleur in Fo's piece, "The Birth of the Jongleur," reminds his audience: "I leap and pirouette, and make you laugh. I make fun of those in power, and I show you how puffed up and conceited are the bigshots who go around making wars in which we are the ones who get slaughtered. I reveal them for what they are. I pull out the plug, and . . . pssss . . .they deflate."

   Written and originally performed by Fo himself, "Mistero Buffo" consists of a series of pieces involving mime, improvisation and performance art. The texts are fiercely anti-Church, anti-materialist and anti-authority, but they are written with a comic verve and playful sensibility that mark Dario Fo as a remarkably unique writer, director, and performer. Drawing on religious traditions, the pieces include Fo's modern take on Biblical stories entitled "Slaughter of the Innocents," "Marriage at Cana" and "Resurrection of Lazarus," as well as a series of short dialogues (entitled "Passion Plays") where Fo adumbrates the death of Christ as experienced by Mary. All of these pieces border on the blasphemous, subverting conventional pieties and unthinking reverence for established religion and replacing them with a kind of popular re-writing of Christianity, a revision which glorifies the common man at the expense of those in power. Not surprisingly, "Mistero Buffo," like most of Fo's texts and performances, is controversial and provocative. It is also, however, a short text worth reading for an insightful sampling of one of Italy's most remarkable literary and theatrical geniuses.




2. "Mistero Buffo", alternatively titled "The Comic Mysteries", is a wonderful introduction to the irreverent, playful and imaginative world of Dario Fo, winner of the Nobel Prize for Literature in 1997. If "Mistero Buffo" has a shortcoming, it lies in the fact that it is merely a text and does not embody the vitality of Fo's imaginative work, which relies as much on performance as it does on literary content.

   "Mistero Buffo" draws on the popular and comic tradition of the medieval mystery plays, as well as the tradition of the so-called "jongleur", or traveling comic and mime, whose performances provided a subversive counterpoint to the authority of Church, Monarchy and Lord. As the jongleur in Fo's piece, "The Birth of the Jongleur", reminds his audience: "I leap and pirouette, and make you laugh. I make fun of those in power, and I show you how puffed up and conceited are the bigshots who go around making wars in which we are the ones who get slaughtered. I reveal them for what they are. I pull out the plug, and . . . pssss . . .they deflate."

   Written and originally performed by Fo himself, "Mistero Buffo" consists of a series of pieces involving mime, improvisation and performance art. The texts are fiercely anti-Church, anti-materialist and anti-authority, but they are written with a comic verve and playful sensibility that mark Dario Fo as a remarkably unique writer, director, and performer. Drawing on religious traditions, the pieces include Fo's modern take on Biblical stories entitled "Slaughter of the Innocents", "Marriage at Cana" and "Resurrection of Lazarus", as well as a series of short dialogues (entitled "Passion Plays") where Fo adumbrates the death of Christ as experienced by Mary. All of these pieces border on the blasphemous, subverting conventional pieties and unthinking reverence for established religion and replacing them with a kind of popular re-writing of Christianity, a revision which glorifies the common man at the expense of those in power. Not surprisingly, "Mistero Buffo", like most of Fo's texts and performances, is controversial and provocative. It is also, however, a short text worth reading for an insightful sampling of one of Italy's most remarkable literary and theatrical geniuses.

2 comments about Epic Proportions.

1. The local big theatre is producing this show, to be performed in March of 07, and have been holding auditions for the last couple of days. I've auditioned for the role of Louise and sincerly hope I am awarded the part.
   
   Before auditioning I had never read a word of this play before. As I was trying to win the director over with my impromptu performance of the scene where Louise and Phil and Benny try to coax Mr. DeWitt out of the Pyramid, I tried my hardest NOT to laugh! It was impossible.
   
   This is one of the funniest plays I've read, or auditioned for in forever. There is a lot of PHYSICAL humor in the play and once you read all the notes in () you basically fall off of your chair laughing.
   
   It's a hilarious play and you should read it. If you ever hear of anyone performing it...audition for it, or at least go see it. You WILL NOT regret it.



2. When I'd heard reviews of this play during its Broadway run, most reviewers either loved or hated it. It's not as bad as has been said, and actually reaches into hysterical in many points. It tells the story of 2 brothers who come to be extras on a Biblical epic [filmed] in the 30's in the Arizona desert, and end up both falling in love with the Assistant Director in charge of the extras, and become the director and star of the movie, "Exeunt Omnes". The 3 principals are supported by an ensemble of 3 actors who play everyone from an Egyptian Dancing Girl to Executioners to Hollywood costume designers. I would have to rate this script high for performability and for the humor in it. The characters are written strongly, and have very distinct personalities, and the story is entertaining, with some interesting absurdist touches, and I would recommend this to anyone who likes a sly comedy that can be outrageous at the same time.

No comments about Folklore, Cultural Performances, and Popular Entertainments: A Communications-centered Handbook.

5 comments about Roger Corman: Blood-Sucking Vampires, Flesh-Eating Cockroaches, and Driller Killers.

1. THIS BOOK IS ABOUT LEGENDARY FILM MAKER ROGER CORMAN. HE IS KNOWN FOR MAKING FILMS AS QUICK AND CHEAP AS HE COULD. MANY OF THESE ARE CULT FAVORITES SUCH AS LITTLE SHOP, GIANT LEECHES AND MANY MORE. I HAVE SPENT MANY A FRIDAY NIGHT AND SATURDAY AFTERNOON WATCHING THESE "CLASSICS". ROGER CORMAN IS KNOWN FOR MAKING CHEAP BUT INTERESTING AND SOMETIMES HILARIOUS B MOVIES. THE BOOK GOES BEHIND THE SCENES AS THE AUTHOR INTERVIEWS MANY FORMER EMPLOYEES WHO HAVE WORKED FOR CORMAN AND HAVE INTERJECTED THEIR VIEWS AND OPINIONS ON CORMAN. ROGER IS ALSO KNOWN FOR GIVING MANY STARS THEIR START. CORMAN IS ALSO A COMPLEX GUY WHO CAN BE VERY GENEROUS AND CAN ALSO BE AS CHEAP AS THEY COME. SOMETIMES MOOD BUT ALWAYS LOOKING TO MAKE ANOTHER MOVIE. I REALLY ENJOYED THIS BOOK AND I RECOMMEND IT FOR ALL FANS OF KING OF THE B'S AND WHO APPRECIATE BRILLIANCE ON A BUDGET.



2. This fascinating "biography" is really a savvy "how to" book that belongs on the shelf of every screenwriter, aspiring producer, director, and development executive -- and everyone else who loves films and craves to know the secrets of Hollywood's most colorful mogul.
   
   I found it fun to read as a realistic "behind the scenes" glimpse of what it takes to be a profitable mogul, such as the way Corman hired young cheap "promising" talent instead of going for experience. Directors fresh out of film school reading this book, for example, can get a good feel for the mindset and financial situation of producers they interview with. Screenwriters will learn how Corman and team (Gray had been his development executive) managed to write and produce so many successful films quickly.
   
   Few books reveal the inner machinations of a successful producer so intimately. Gray, a screenwriting teacher at UCLA, has done a spectacular job of showcasing the life story of an intruiging man through more than eighty interviews and via her own experience.



3. Wow! Talk about switching personalities! This amazing biographer can emit the style of the person she is writing about to really give you a flavor of the personality. And of course, she spent time working for him, so you are privy to more of a view. Written somewhat bruskly like Roger's personality, you really gain insight into his life and what made him the person he is. Contrast this book with Beverly's biography of Ron Howard and you see some of the exceptional talent of this lady. A great read!



4. I have to agree with the other five-star reviews. "Roger Corman: Blood-Sucking Vampires, Flesh-Eating Cockroaches, and Driller Killers" is the best book on the subject, the subject being the most unique American studio head in film history.
   
   Beverly Gray really paints a nuanced picture of Corman and never panders to the fans, the haters, or her old boss Corman himself. Though it's impossible to pull back the curtains entirely and see into a man's soul, Gray seems to have at least pulled back one side, giving us as much a glimpse as is possible without telepathy.
   
   Storywise, Corman is, as always, fascinating, and Gray's perfectly detailed retelling of his story is the best yet written.



5. (...)

   Gray's biography--fun as it is-- is more than a story about a man who is arguably one of Hollywood's most idiosyncratic moguls. It is a chronicle that parallels that of The Great Depression, World War II, the growth of the film industry and Los Angeles itself. We meet again celebrities we haven't thought about in years like the adorable dimpled Jon Davison, the memorable Vincent Price and even run across pop culture icons like Frank Gorshin.

   Occasionally this book is burdened with glitz-town detail that only a dedicated film buff might adore but these moments are rare. Like a super hero, Corman--now 75 and still going--is resilient because he is multi-faceted. The same can be said for screenwriter cum UCLA instructor and journalist Beverly Gray. The two seem admirably paired in that way. Gray uses her many experiences and talents to tell the story of a man of many parts.
   (...)

3 comments about Speaking of Dance.

1. This book was everything I expected. It came to me quickly and I was very pleased with the condition of the book.



2. Joyce Morgenroth's work, aptly titled Speaking of Dance, allows us the pleasure of actually hearing the voices of the choreographers and, in a very real sense, seeing their work. This simple integrity of purpose may be a large part of what makes the book so eminently readable. The author signals us with her first introductory words, "Watching dance..." that we are in for a journey from audience point-of-view. Then, Morgenroth neatly take us to the source, her interviews with twelve well-known choreographers. What different sources they turn out to be!
   
   Speaking of Dance lets the choreographers tell their stories with the full flair of their personalities. I get who they are without being spoon-fed. They speak in their twelve highly individuals styles, just what you hope for from contemporary titans in the dance world. (No doubt much clearer sounding than some of them actually articulated before Morgenroth edited for us.) In speaking they let us into their world. How much each captivates is illuminated almost as much by how they present themselves, perhaps who they are, as by what they have created on the floor...and, in some cases, off the ceilings, on the walls, with the music coupled with each artist's internal vision. In every case I learn



3. I like this book alot. In the introduction, we hear the voice of Joyce Morgenroth, author and interviewer. An auspices start. The writing is smart and lively. Morgenroth loves dance, has a keen eye for details, and lots of questions.Through the intro, her energetic and easy writing makes her feel close... and she is willing to take us along into the kitchens and lofts to speak with dancemakers about the alchemy of choreography.
   
   First stop, though is a short history of modern dance. We get facts but Morgenroth concentrates on the catalysts that led to explorations. She places each of the artists in the book in context.
   
   The interviews start with a short bio but the heft is the voice of the artist. The pieces are spontaneous and intimate and also well-structured. The artists' stories of their histories are funny and human. No matter how well known, it is clear that each artist is still deeply involved with the process of making work.
   
   I teach dance compostion and after reading Speaking of Dance realized what a priceless resource this is for young people making art. We can't give them a formula, just tips and the courage to get out there and try.
   
   This book supports that idea completely.

4 comments about The Making of West Side Story (The Great Broadway Musicals).

1. As I was writing a term paper about Broadway musicals a few years ago, I found The Making of West Side Story very helpful to my research. The book tells about the creation of the idea by Jerome Robbins and the subsequent collaboration with Leonard Bernstein, Arthur Laurents, and Stephen Sondheim. It tells of deep research into gang warfare, of grueling rehearsals with the oft-cold Robbins (in constrast to the gentler Bernstein), and of startled reactions to this unusual musical. My only complaint about this book is that it gives no proper respect to the movie version; it refuses to allow for the differences between the stage and the screen. Otherwise, highly recommended.



2. As I was writing a term paper about Broadway musicals a few years ago, I found The Making of West Side Story very helpful to my research. The book tells about the creation of the idea by Jerome Robbins and the subsequent collaboration with Leonard Bernstein, Arthur Laurents, and Stephen Sondheim. It tells of deep research into gang warfare, of grueling rehearsals with the oft-cold Robbins (in constrast to the gentler Bernstein), and of startled reactions to this unusual musical. It gives great insights into the motivations of the characters, the construction of the plot, and the choices of the lyrics and tunes.

   My only complaint is that this book gives no proper respect to the excellent movie version; it refuses to allow for the differences between the stage and the screen. (Note: I did see the 1979 Broadway revival, as well as high school productions, and have enjoyed the movie umpteen times.) Otherwise, The Making of West Side Story is highly recommended.




3. This is an interesting account of how a team put together a provocative and innovative musical tragedy, bucking the trend of syrupy and simpler musicals for 1950s Broadway. Leonard Bernstein (for music), Stephen Sondheim (for lyrics) and Jerome Robbins (dance and direction) formed the nucleus, but there were also a playwrite, and other specialists and actors who all collaborated. The principals took a substantial risk in their budding careers and forged ahead confident of their inventiveness. The result is Broadway history, which opened the way to treating a myriad of other socially relevant subjects in later years. Though the music is what is remembered best now, it is truly a multi-media event that was pioneering in its time.

   I read this because I am writing teaching materials for business execs to study, as a case of effective, if unorthodox, management. That is only one of the many many levels n which it can be read. The author offers a wonderful panorama of the dance, music, and acting that was current - and changed by this musical tradegy - at the time.

   It appears that Garebian used only written sources to write this. As many of the participants were alive at least during the lat decade, this limits the account in unfortunate ways. But is it well written and a spur to read more elsewhere.

   If you are interested, I would recommend this. If not, go to the biographies of the participants. Nonetheless, it is a solid view into a unique collaboration.




4. Maybe this title is the latest and best modern view of "West Side Story". Amazing and surprise you'll have spending your time reading it.

No comments about Twelve Angry Women.

2 comments about A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg, Altman.

1. Kolker's lengthy opinions sometimes suffer from tunnel-vision -- ideas that support his over-arching theories are stressed while other influnces on/aspects of the films are ignored. But his over-arching theories are penetrating nevertheless, and a lot of light is shed on the filmmakers he discusses. His treatment of Kubrick, whose work lends itself so well to intelluctual deconstruction, is especially good. The discussion of Spielberg is interesting but a little too high-minded for the relatively simple pleasures of Spielberg's movies. Most interesting of all are the author's comparisons of the filmmakers with each other, the culture of their times, and various narrative forms and goals. (Kubrick fans should also check out Michael Herr's "Kubrick", which reveals a human side to the legendarily chilly and cerebral director).



2. Although I missed the very first edition of this book in 1980, its second edition has been among my favorite film books for a decade. This is despite the fact that most of the film-makers discussed within (especially Scorsese & Altman) had made numerous films since the last ones featured in that edition. Now I have the joyful experience of catching up on their films with one of the finest writers on the topic of American film ever and his third edition of one of the finest books on American film ever published.

   Kolker has gone back to his earlier editions and used the newer films to both confirm and refute his earlier evaluations. Many fans of film in general (and some of these directors, in particular) will not agree with many of Kolker's points. What makes this book so wonderful, though, is that you don't have to agree to enjoy it. Kolker understands that film criticism is meant to be a lively art, rather than a process of emalming great works of art. I may not agree with his assessment of each Scorsese picture but his analysis of Scorsese's significance is right on the money. At the same time, his newly added discussion of Oliver Stone is the first writing about the controversial director that gave a fair picture of his artistic strengths (there are many) and weaknesses (fewer but still significant).

   Deserving of special note is the book's section on the late Stanley Kubrick. Kubrick's passing makes him the only film-maker in the book whose body of work is completely finished, a matter which Kolkee addresses in a special epitaph. It is indicative of both the quality and bold approach of the book that the author uses Kubrick's final film, "Eyes Wide Shut" as a springboard to ponder how Kubrick's work will fit into the history of cinema in the years to come. He does not make pat, easy judgements but rather admits that the still vital medium is ever shifting and even old works can take on new meanings in hindsight. It's almost enough to make me eager for the fourth edition.

3 comments about Making Musicals: An Informal Introduction to the World of Musical Theater.

1. Everything which is written in that book of Tom Jones is completely and utterly true. It is somehow consoling to read that everybody in this "bloody" business has to go through the same scenario, every time over and over again. Facing this fact it is the only way that you will take all your energy together and start all over again with a new project. When you are many years in showbusiness you can only confirm what is written in this book. When you are just starting, then it might happen that young people rather tend to think they can do better and avoid some of the bad experience. But, as in life, you have to go through bad experience and bump you head against the wall, too, in order to learn.
   We are actually in a new project now. There are people with experience in this project and younger people with less experience. With the help of this book and in workshops we try to convince the young ones that the principles of making a musical project and the procedures are always the same and must not be neglected otherwise you will fail.



2. Tom Jones' MAKING MUSICALS is taken from a series of lectures Jones gave for a class in writing musicals. I found this little book very interesting and full of good advice. Jones doesn't pretend to tell you everything you need to know to write a musical or give specific techniques to write a hit. He's merely passing on what he has learned in his very long career as a writer of musicals. (He started in the 50s writing nightclub revues before hitting paydirt with the American theatre's longevity champ, THE FANTASTICKS, which ran an astounding 42 years.) He gives a brief overview of the history of musical comedy and some basics about getting started on writing your own musical. A lot of this information is available in other books, but what really sets Jones' book apart is the chapter on collaboration. Mr. Jones ought to know a thing or two about collaboration since he and composer Harvey Schmidt had a collaboration that lasted from the 1950s into the 21st Century, when Schmidt chose to retire. Jones tells how to choose a collaborator as well as how to make a good collaboration last. This chapter ought to be mandatory for all aspiring collaborators. (I wish I had read it before my own ill fated attempt at collaboration!) While hardly comprehensive, this is an excellent little book. Four stars.



3. Finally, an insider has published a book giving a first hand account of the process of writing a musical. While the first half of the book covers the history of the American Musical very nicely, the second half does a superb job of guiding us through the difficulties in writing a musical.

   Tom Jones leads us through what makes a musical, what the difference between lyrics and poetry is in song writing, and makes suggestions regarding how to find a collaborative partner and how to get your work produced.

   I consider this to be a required text for anyone considering a collaboration on a musical.

5 comments about Norma Shearer: A Biography.

1. Like all of his books, he checked facts with half truths and quotes from those that are not fond of his subject matter. If he can't get the real deal, he fills the story line with his own voice. Many times he claims he spoke with Norma Shearer, yet writes vague tiny passages about the time they shared together. Details are brought forth and still can not explain many of the mysteries of Norma's life. He is cruelly long on his description of her aging "ravaged face" In 1977, She was still beautiful for her age, too thin and fragile, yet elegant. Perhaps Norma and Marti stayed too tightly lipped. And so he seemed to shift from reporter to Norma's reputation slayer. He wrote facts that can be found out in Newspapers clipping of the time. He indicated he never visited Ms. Shearer in her last years. Writing only on heresy to sell a book? Over all it was a quick read, had command of english skills and has wonderful pictures. I spoke to Mr. Lambert on several occasions, in real life he used too much foul language (shock value) and was very sensitive to his own deep demons. I am not sure this book wasn't a result of his own disappointments. Read it for yourself when you find it. Above all enjoy... Norma Shearer!



2. Excellent account of Hollywood's first major leading lady. A lady of intelligence, glamour and beauty. This biography captures her allure as well as depicting the Hollywood studio system of the 1930s and 40s.



3. Gavin Lambert does not seem to feel especially warm toward the subject of this book. His brief descriptions of meetings with her, when she was an elderly woman, seem designed to show her in the worst possible light. His constant mention of the fact that a woman in her seventies has wrinkles and that her memory sometimes failed irked me. It was as if Lambert was bitterly disappointed that his subject was a mere mortal after all.
   
   Lambert also seems to think he was privy to Miss Shearer's most private of thoughts. I seriously doubt she confided in him about her sexual history, fulfilling or otherwise. He also veers toward taking her attitudes toward mental illness completely out of context; people still struggle with their feelings about it, and to condemn Miss Shearer for her shame and alarm regarding her sister's illness is to single her out for criticism, in my opinion very unfairly.
   
   Having said all that, overlooking his personal interjections and, as others have noted, an overly long look at the early life of Irving Thalberg, for those interested in Miss Shearer's life this is an interesting and absorbing book. After reading it I feel I know the facts about her career and biographical details, but I am hoping to find another book which will give me more of a sense of who she really was.
   
   As this item is out of print, copies tend to be somewhat expensive. While I am glad I read it, I am also glad I paid less than $50 for the privilege.



4. This is a must-read for anyone interested in early Hollywood, when stars had class. Norma Shearer is not as well remembered as she should be today, but after reading this book, you will be craving for more! This book is the best source there is out there for a look at this Queen of the MGM Lot (as she was called during her reign throughout the '30's) even though it has flaws. It gets some details of her career wrong, but the overall sense is that this is someone who accomplished a lot in terms of roles for women during the pre-code era of film. She played sophisticated society ladies who were just a bit naughty and flirtatious (and unapologetic!) She is worth remembering, so please seek out this book where you can find a copy and realize what those of us who have been captured by her star quality already know.......she was a star like no one else!
   I also recommend a companion book to this(or if you can't locate a copy) Mick LaSalle's Complicated Women. He explains the glory that is Norma better than anyone can!



5. I thought that this book was well written and provided as much information as possible, given the fact that Ms. Shearer and her children were/are very private people. The only thing that I thought he did a poor job on was her later years. Ms. Shearer didn't decend into "madness"..she evidently suffered some form of dementia or possibly Alzheimer's. Instead of treating her disease with compassion, she was a human being, he treats her bizarre behaviors as a neurotic actress who couldn't stand growing old.