Word: elizabethaning
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...entire cast should be commended for their delightfully over-the-top characterizations and their facile delivery of Elizabethan lines, which both helped the audience follow the rather complicated plot. Also bolstering the viewing experience was a cleverly engineered upper balcony leading to the front door allowed the three cozeners to evaluate their approaching victims and let the audience enjoy the often dramatic exits of the tricked gulls...
...Ireland. These unsettling events seem to parallel the themes of “Henry the Fifth” and “Julius Caesar”—and they appear to have sparked Shakespeare’s creativity. However, due to the strict enforcement of censorship in Elizabethan England, Shakespeare could not make overt comparisons to the government. After all, the English court was a patron of his theater company. At the time, authors were sent to the gallows at Tyburn or starved to death in the Tower of London just for subtly criticizing the Queen. Meanwhile, Shakespeare...
...already checked off teen flick (Dazed and Confused), western (The Newton Boys), romance (Before Sunrise), sequel (Before Sunset), animation (Waking Life), sci-fi (A Scanner Darkly, due in 2006), filmed play (Tape) and a kids' movie (School of Rock). If you've got a script for an Elizabethan musical, now might be the time to send it over...
...ranting is a form of verbal fanaticism, and other cultures often do it better. The Middle East today is to ranting what Elizabethan England was to theater: the cradle of geniuses. Every faction and tribe has its Shakespeare of denunciation, from the Ayatullah on down. Communist bloc countries have bureaucratically institutionalized ranting. The East German government once issued a list of approved terms of abuse for speakers describing the British: "paralytic sycophants, effete betrayers of humanity, carrion-eating servile imitators...
...disoriented entourage is aptly symbolized by a raucous chorus of trumpets and trombones, searching for its pitches through a sliding microtonal minefield. A small Renaissance ensemble often accompanies the shadowy, faceless Ariel (Mezzo Susan Quittmeyer) on his spritely missions, and his unaccompanied Where the bee sucks becomes a mock-Elizabethan song. A trio of alto sax, electric guitar and electric bass represents the bestial Caliban (Mezzo Ann Howard), and his drunken revels with Trinculo and Stephano are celebrated with some exquisitely low-down jazzrock that closes the first act in a brilliant theatrical burst. (Eaton, 50, a professor of composition...