The Independence Day edition! Plenty of theatre and screenplays, though deficient on actual film watching this week. Will try to remedy next week.
Superman: Flyby
Screenplay by J.J. Abrams
This script was good, but not great. Of all the Superman films or screenplays I've seen so far, this one had the most interesting insight into our main character, Clark Kent/Superman, although many times it was through non-visual writing, and felt more like a novel. It served as a good reminder that screenplay form is important, and that writing in prose can explain some things, but also create gaps in understanding when translating to filmable action. I enjoyed a many of the Superman moments (including Superman's rescue of a plane, which was about the only thing to make it to Bryan Singer's Superman Returns) and I was refreshed by some large deviations from the Superman mythos. I won't spoil them here, but you can check the screenplay out for yourself
3/5
The Curious Incident of the Dog in the Nighttime
Play, Stageplay by Simon Stephens, based on the book by Mark Haddon
I saw the Broadway production of this play. It was enjoyable, with solid acting, creative staging, and impressive production value, but I easily saw how this story was most likely much stronger as a novel. Though the play goes through great theatrical efforts to put us inside the mind of the protagonist, a teenage boy with a likely diagnosis of Asperger's, the connection felt contrived, and the stakes of the story itself do not feel at all high until Act Two. This show reminded me of the importance of understanding the best medium for a story, and how even with adaptation choices, medium plays a large part in sharpening the story to its best possible version. Tickets and info can be found on the show's site.
3/5
Children of Men
Screenplay by Alfonso Cuaron & Timothy J. Sexton
Though the final film has more credited writers, the script I read was solely Cuaron & Sexton's, and I noticed very few differences between it and the film. Though, I will admit, it has been a while since I've seen it. The script itself was very tight, with a clear arc set up for the protagonist's growth, and a clear goal that the protagonist was trying to achieve. This was simple storytelling executed at a high level, and a joy to read. What struck me most, however, was the subtle and unrelenting world-building. It was always in the margins of the story, never taking over, but ever present. Cuaron and Sexton never missed on opportunity to continue building this world out, without ever using clunky exposition, unneeded scenes, or heavy-handed imagery. For any story that takes place in a world unlike our own, this is paramount in providing context for story while not distracting from it. Read the screenplay here.
4/5
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Staged Reading, Stageplay by Steven Mark Tenney
This staged reading revealed that staged readings can be crucial in providing immediate feedback on a script. There was far too much time spent in world-building, with what seemed to be a proclivity for naming things rather than describing a functional world. And for what little story there was, it was told with an exacting, seemingly intentional unclarity. Whether this was the author's intent or not, the audience's noticeable disinterest should have been enough for him to determine if he's achieving his goal with this script. This was a one time reading, but Planet Connections Theatre Festivity has a robust calendar with free readings and affordable stagings.
1/5
On The Verge, or The Geography of Yearning
Play, Stageplay by Eric Overmyer
While the subject matter of this play (time-traveling, Victorian era, exploration) was right up my alley, I'd say that the style of this play (slightly absurdist) was not. I'm a big proponent of clear plot and driving stories, and the playwright was more interested in ideas and concepts here. Despite that, through fun direction, strong acting, and just some good old fun wordplay, I found myself leaning into the explorations here, rather than rejecting in search of story. Whether it was my predilections for the ideas, or my enjoyment of great wordsmithing, this play that I should have for all intents and purposes been bored with, had me smiling many a time. While I do believe its lack of story ultimately limits it, getting everything else right goes a long way. The show closes July 9th, but unique productions like this The Attic Theatre Company won't be disappearing anytime soon.
3/5
The Ghost and The Darkness
Screenplay by William Goldman
This was a very taut, and visually constricting, script. William Goldman, here on the backend of his career, clearly knows what he's doing, to the point where he nearly directs from the page. Despite that, his grasp of the form is on display and he delivers a clear and engaging period piece thriller. For a more in depth review of this, read my complete breakdown at Back To The Picture. Here's the screenplay itself.
4/5
The Golden Smile
Play/Musical, Stageplay by Yaakov Bressler
The story in this absurdist play, with a few songs sprinkled within, didn't quite capture me, but the characters did. And while a number of them were not played subtle enough for my taste, on the page, this play has everything it needs, though not necessarily arranged in their best order. The songs didn't do anything to further the plot, but the ideas explored were plenty to keep me engaged, and the conceit of a play within a play has great storytelling potential. Unfortunately I caught the last show in NYC at Planet Connections Theatre Festivity but it'll be performing at the Capital Fringe Festival soon.
2/5
Bonus
The George Lucas Talk Show
This improvised talk show was as close to perfect as you can get. Connor Ratliff as George Lucas is perfect, who with complete dryness simply takes everything said on the show back to some George Lucas property or project, usually Star Wars. As Lucas, Ratliff perfectly straddles the line between a guy who has no idea of the public perception of certain projects of his (ahem...prequels) or a guy who knows, but doesn't care because he thinks he's right. It is his indifference to any audience (the show audience included) but his boy-like passion for his stories that makes Ratliff's Lucas so fun to watch. Check this out at UCBeast, if you get the chance.
The Avengers (Director's Commentary)
Listening to Joss Whedon talk about storytelling is just a joy. His disdain for cliche always leads to great moments, and this commentary not only reveals much about the way the story functions in this film, but also points to ways that it doesn't in other films. The commentary is available on the Blu-ray release.