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lory_enterenchanted's Reviews (582)
Reviews and more on my blog: Entering the Enchanted Castle
A comfort reread of a childhood favorite. I always loved to imagine myself into Menolly's place, studying music, making friends and enjoying the company of tiny dragonlike creatures on a variation of the usual vaguely medieval fantasy world. Right now it provided some welcome escape.
A comfort reread of a childhood favorite. I always loved to imagine myself into Menolly's place, studying music, making friends and enjoying the company of tiny dragonlike creatures on a variation of the usual vaguely medieval fantasy world. Right now it provided some welcome escape.
Reviews and more on my blog: Entering the Enchanted Castle
After Year of the Mad King, I went back in time to Sher's previous Theatre Diary about his performance as Falstaff. This one had less about his personal life and more about his uncertainty about playing the iconic character, doubts which did not show in the end (I watched the filmed performance of Henry IV Part I and he seemed totally at home, only -- in spite of his "fat suit" -- not terribly fat). It was most interesting to read about some of the artistic choices and decisions that went into the final product, including some shades of interpretation and meaning. I'd really like to read Year of the King as well now.
After Year of the Mad King, I went back in time to Sher's previous Theatre Diary about his performance as Falstaff. This one had less about his personal life and more about his uncertainty about playing the iconic character, doubts which did not show in the end (I watched the filmed performance of Henry IV Part I and he seemed totally at home, only -- in spite of his "fat suit" -- not terribly fat). It was most interesting to read about some of the artistic choices and decisions that went into the final product, including some shades of interpretation and meaning. I'd really like to read Year of the King as well now.
Reviews and more on my blog: Entering the Enchanted Castle
Very interesting survey of a year of turmoil and conflict in English history, following the Gunpowder Plot. I found it very illuminating to place Shakespeare's plays within their social and historical context. It also gives a glimpse of how historians come up with some of their ideas based on fragmentary evidence. Though Shapiro identifies three plays, King Lear, Macbeth, and Antony and Cleopatra, as being produced in 1606, only the first is fairly certain (that's why the book is called "The Year of Lear"). He makes a good case for the others, but this and many other statements should be taken for what they are: theories. There is also a fair amount of speculation, of the "Did Shakespeare feel this or that at the time? We can't know for certain" variety. Overall, it's like a tapestry with huge holes that has been filled in -- convincingly, and helping us to see the big picture that otherwise would be hard to imagine, but keep in mind that it may not fully match the original.
Very interesting survey of a year of turmoil and conflict in English history, following the Gunpowder Plot. I found it very illuminating to place Shakespeare's plays within their social and historical context. It also gives a glimpse of how historians come up with some of their ideas based on fragmentary evidence. Though Shapiro identifies three plays, King Lear, Macbeth, and Antony and Cleopatra, as being produced in 1606, only the first is fairly certain (that's why the book is called "The Year of Lear"). He makes a good case for the others, but this and many other statements should be taken for what they are: theories. There is also a fair amount of speculation, of the "Did Shakespeare feel this or that at the time? We can't know for certain" variety. Overall, it's like a tapestry with huge holes that has been filled in -- convincingly, and helping us to see the big picture that otherwise would be hard to imagine, but keep in mind that it may not fully match the original.
Reviews and more on my blog: Entering the Enchanted Castle
My first Richard Rohr. I loved it and would have liked to underline something on almost every page. Probably need to buy my own copy so I can do that, and read it repeatedly.
My only caveat is that there wasn't actually much about "contemplative prayer" -- i.e. what it is, or how to do it. That information has to be sought elsewhere.
My first Richard Rohr. I loved it and would have liked to underline something on almost every page. Probably need to buy my own copy so I can do that, and read it repeatedly.
My only caveat is that there wasn't actually much about "contemplative prayer" -- i.e. what it is, or how to do it. That information has to be sought elsewhere.
Reviews and more on my blog: Entering the Enchanted Castle
This one reminded me of Jane Gardam -- a slow transformation and steps in self-knowledge, funny and heartwarming.
This one reminded me of Jane Gardam -- a slow transformation and steps in self-knowledge, funny and heartwarming.
Reviews and more on my blog: Entering the Enchanted Castle
Another lovely book from Stella Gibbons. I'm most impressed by how she can keep me engaged with characters who are not terribly likeable.
Another lovely book from Stella Gibbons. I'm most impressed by how she can keep me engaged with characters who are not terribly likeable.
Reviews and more on my blog: Entering the Enchanted Castle
Read this for review on Shiny New Books (coming soon). I was riveted by this account of one family's struggle with schizophrenia, interspersed with information about the history of how the condition has been understood and treated. Some individuals, particularly the father, remained quite shadowy, but I thought the author overall did a fine job of presenting the information he gathered as a fluent narrative, allowing the reader a way into this complex drama. There is so much to learn and the willingness of at least some of the Galvins to share their story can help us to inch forward in understanding and hopefully treating this mysterious disease.
Read this for review on Shiny New Books (coming soon). I was riveted by this account of one family's struggle with schizophrenia, interspersed with information about the history of how the condition has been understood and treated. Some individuals, particularly the father, remained quite shadowy, but I thought the author overall did a fine job of presenting the information he gathered as a fluent narrative, allowing the reader a way into this complex drama. There is so much to learn and the willingness of at least some of the Galvins to share their story can help us to inch forward in understanding and hopefully treating this mysterious disease.
Reviews and more on my blog: Entering the Enchanted Castle
I loved reading about Sher's life and his artistic process, woven together. Especially moving was the way mortality and his aging body affected him in the course of bringing Lear to production. I would definitely like to read more of these memoirs.
I loved reading about Sher's life and his artistic process, woven together. Especially moving was the way mortality and his aging body affected him in the course of bringing Lear to production. I would definitely like to read more of these memoirs.
Reviews and more on my blog: Entering the Enchanted Castle
A revealing but not particularly "delightful" look into the world behind the curtain, centered around the star of My Fair Lady, Rex Harrison. Garland, who directed Harrison in the American revival of the musical in the mid-seventies, seems to see reminiscing about the production as a fine opportunity to collect his memories of the man he considered a friend as well as a great artist, and perhaps to demonstrate why he remained so attractive to many in spite of his irascibility. But much of Harrison's in-person charm is lost when we are confronted with his bald words upon the page, divorced from his finely modulated voice and manners. He comes across as insensitive, boorish, and even cruel. One of his ex-wives (he had five, plus a current model) commits suicide during the tour and he appears largely unmoved. His treatment of his own son -- which took even Garland aback -- is horrible. Off the stage, intermingled with Wildean quips he spews a constant stream of profanity; his nickname for My Fair Lady is "F*** the Music."
This attitude also demonstrates his contempt for any artists involved with a production other than himself. Challenged by his own lack of singing skills, his "speech singing" became a brilliant and very suitable expression of the character of Henry Higgins, which largely contributed to his success in the role. But it IS an eminently musical show, and he had no respect for music or for singers. He ignored the long-suffering conductor's requests for Harrison to follow him, demanding that he lead and the orchestra follow. He sank the revival production because when his co-star playing Eliza became overwhelmed by the vocal demands of the score, he refused to allow an understudy to take over. When forced by the crisis to do so, played so coldly to her that she ended up prostrate in her dressing room after the preview performance attended by the New York critics. I suspect that he feared being upstaged by any talent that might have proved to be greater than his own, and used these antics to keep other actors in their place.
I'm sure such attitudes and practices are not uncommon among stage folk, and so Garland's record allows us to see a side of show business that is not at all glamorous. But it left me sad, and wondering why Harrison became such a dreadful person -- a question not addressed in this particular book.
A revealing but not particularly "delightful" look into the world behind the curtain, centered around the star of My Fair Lady, Rex Harrison. Garland, who directed Harrison in the American revival of the musical in the mid-seventies, seems to see reminiscing about the production as a fine opportunity to collect his memories of the man he considered a friend as well as a great artist, and perhaps to demonstrate why he remained so attractive to many in spite of his irascibility. But much of Harrison's in-person charm is lost when we are confronted with his bald words upon the page, divorced from his finely modulated voice and manners. He comes across as insensitive, boorish, and even cruel. One of his ex-wives (he had five, plus a current model) commits suicide during the tour and he appears largely unmoved. His treatment of his own son -- which took even Garland aback -- is horrible. Off the stage, intermingled with Wildean quips he spews a constant stream of profanity; his nickname for My Fair Lady is "F*** the Music."
This attitude also demonstrates his contempt for any artists involved with a production other than himself. Challenged by his own lack of singing skills, his "speech singing" became a brilliant and very suitable expression of the character of Henry Higgins, which largely contributed to his success in the role. But it IS an eminently musical show, and he had no respect for music or for singers. He ignored the long-suffering conductor's requests for Harrison to follow him, demanding that he lead and the orchestra follow. He sank the revival production because when his co-star playing Eliza became overwhelmed by the vocal demands of the score, he refused to allow an understudy to take over. When forced by the crisis to do so, played so coldly to her that she ended up prostrate in her dressing room after the preview performance attended by the New York critics. I suspect that he feared being upstaged by any talent that might have proved to be greater than his own, and used these antics to keep other actors in their place.
I'm sure such attitudes and practices are not uncommon among stage folk, and so Garland's record allows us to see a side of show business that is not at all glamorous. But it left me sad, and wondering why Harrison became such a dreadful person -- a question not addressed in this particular book.
Reviews and more on my blog: Entering the Enchanted Castle
I really enjoyed this first of the Tessa Crichton mysteries, reissued by Dean Street Press, always to be depended on for coming up with some good rediscoveries. The mystery is negligible, but there's a lot of pleasure to be had from the breezy voice of the narrator. This made me smile on almost every page, especially her banter with friends and relations including an attractive police inspector who I gather will become her husband in the next book -- seemingly unfazed by his lady love's obstruction of justice and concealing of information in the interest of her loved ones. I wonder how this will work out in future books, so I definitely look forward to more from Tessa and Co.
I really enjoyed this first of the Tessa Crichton mysteries, reissued by Dean Street Press, always to be depended on for coming up with some good rediscoveries. The mystery is negligible, but there's a lot of pleasure to be had from the breezy voice of the narrator. This made me smile on almost every page, especially her banter with friends and relations including an attractive police inspector who I gather will become her husband in the next book -- seemingly unfazed by his lady love's obstruction of justice and concealing of information in the interest of her loved ones. I wonder how this will work out in future books, so I definitely look forward to more from Tessa and Co.