Tag: drama

Making you the man of nerve or nerves you are: from hard resilience to soft and fearful retreat. A case study based on Nicholas Boggs (2026) ‘Baldwin: A  Love Story’ and the import he detects in Baldwin’s role as director of ‘Düşenin Dostu’ (‘Friend of the Fallen’ in English), the Turkish version of John Herbert’s ‘Fortune and Men’s Eyes’ in Istanbul.

April 21, 2026

Making you the man of nerve you are: from hard resilience to soft retreat. A case study based on Nicholas Boggs (2026) Baldwin: A  Love Story and the import he detects in Baldwin’s role as director of Düşenin Dostu (Friend of the Fallen in English), the Turkish version with its tellingly moralistic new Turkish title, of … More Making you the man of nerve or nerves you are: from hard resilience to soft and fearful retreat. A case study based on Nicholas Boggs (2026) ‘Baldwin: A  Love Story’ and the import he detects in Baldwin’s role as director of ‘Düşenin Dostu’ (‘Friend of the Fallen’ in English), the Turkish version of John Herbert’s ‘Fortune and Men’s Eyes’ in Istanbul.

Cashing in on ‘Thy sweet love remembered’:Some preliminary thoughts on Shakespeare’s Sonnet 29 before some historical reflection on its use in queer literary culture in the twentieth century

April 19, 2026

Sonnet 29 is used to provide the title, and is quoted in full as its message, by a non-binary character in prison named by inmates as ‘Mona’ (after Mona Lisa), of John Herbert’s Fortune and Men’s Eyes, an important if not a very good queer play, and in 1971 a minor film, no longer easily … More Cashing in on ‘Thy sweet love remembered’:Some preliminary thoughts on Shakespeare’s Sonnet 29 before some historical reflection on its use in queer literary culture in the twentieth century

Each day I wish I could find the will to write things ‘technically harder’ than is the norm in order to give me significantly ‘better practice’ in writing. This blog examines as a case study: Rupert Brooke’s one-act play: ‘Lithuania’ to show whether he could, as Maurice Bowra claims he wanted to in writing it, forefront ‘the expression of character, not of personal feeling, …’.

March 17, 2026

Each day I wish I could find the will to write things ‘technically harder’ than is the norm in order to give me significantly ‘better practice’ in writing. This blog examines as a case study: Rupert Brooke’s one-act play: ‘Lithuania’ to show whether he could, as Maurice Bowra claims he wanted to in writing it, … More Each day I wish I could find the will to write things ‘technically harder’ than is the norm in order to give me significantly ‘better practice’ in writing. This blog examines as a case study: Rupert Brooke’s one-act play: ‘Lithuania’ to show whether he could, as Maurice Bowra claims he wanted to in writing it, forefront ‘the expression of character, not of personal feeling, …’.

Samuel Beckett was as meticulous about writing his stage directions as he was in writing poetic prose, and contingent character-based exclamations, of the monologues and dialogues spoken on the stage. How radically will Gary Oldman dare, if at all, to rewrite both the stage directions and words of Beckett’s spoken by him as ‘Krapp’.

April 17, 2025

Gary Oldman viewing the auditorium of the York Theatre Royal, on whose stage he opened performance last night for the first time of the play by Samuel Beckett, under his own direction, Krapp’s Last Tape. I see it at 7.30 p.m. on 22nd April. Photograph from theatre website: see https://www.yorktheatreroyal.co.uk/latest/gary-oldman-stars-in-samuel-becketts-krapps-last-tape-at-york-theatre-royal/ I will see Gary Oldman … More Samuel Beckett was as meticulous about writing his stage directions as he was in writing poetic prose, and contingent character-based exclamations, of the monologues and dialogues spoken on the stage. How radically will Gary Oldman dare, if at all, to rewrite both the stage directions and words of Beckett’s spoken by him as ‘Krapp’.