Shakespeare References in Death In Venice And Seven Other Stories

Thomas Mann's Death In Venice And Seven Other Stories contains several Shakespeare references. Most of them occur in the story "Tonio Kröger," and all of the references within that story are to Hamlet. Mann writes: "That is Horatio's answer, dear Lisabeta. 'Twere to consider too curiously, to consider so'" (p. 101). There the character is quoting one of Horatio's lines from Act V scene i. Next Mann writes: "Such was the case of Hamlet the Dane, that typical literary man. He knew what it meant to be called to knowledge without being born to it. To see things clear, if even through your tears, to recognize, notice, observe - and have to put it all down with a smile, at the very moment when hands are clinging, and lips meeting, and the human gaze is blinded with feeling - it is infamous, Lisabeta, it is indecent, outrageous" (p. 102). Mann then writes, "but don't you find, Lisabeta, that I have quite a Hamlet-like flow of oratory today" (p. 106). And then: "I want to stand on the terrace at Kronberg, where the ghost appeared to Hamlet, bringing despair and death to that poor, noble-souled youth" (p. 107). Two other stories contain references to Shakespeare. In "A Man And His Dog," Mann writes, "The name of the street where I was walking was Shakespeare Street" (p. 252). And in Felix Krull, Mann writes, "But when they were over and I resumed my dull and ordinary dress, how stale, flat and unprofitable seemed all the world by contrast, in what deep dejection did I spend the rest of the evening" (p. 376). Yes, another Hamlet reference. In Hamlet's first soliloquy, he says, "How stale, flat and unprofitable/Seem to me all the uses of this world."

Death In Venice And Seven Other Stories was published in 1930, 1931 and 1936. The edition I read was published, I believe, in 1963.

Shakespeare Reference in The Crucible

Arthur Miller's The Crucible contains a reference to Hamlet, which comes in the notes at the beginning of Act One. Miller writes, "The times, to their eyes, must have been out of joint, and to the common folk must have seemed as insoluble and complicated as do ours today" (p. 4). The phrase "time is out of joint" is spoken by Hamlet at the end of Act I Scene v. He says, "And still your fingers on your lips, I pray./The time is out of joint. O cursed spite/That ever I was born to set it right!"

My copy of The Crucible was the special book club edition, the Bantam Book edition, printed in 1981.

Corktown '39 (Rogue Machine's 2025 Production) Theatre Review

The Rogue Machine Theatre (located within the Matrix Theatre) is currently hosting the world premiere of Corktown '39, a powerful and often funny play that centers on a family of Irish immigrants and their involvement in the struggle for an independent Ireland. It takes place in an Irish section of Philadelphia in the days just before World War II, a time that has been on the minds of many people in this country lately, as certain parallels are too striking and frightening to ignore (those parallels were not lost on the audience at Sunday's performance). The play is part political thriller, part family drama, and it deals with questions of authority in both realms. It was written by John Fazakerley, who also wrote Corktown '57, which premiered a decade ago. This new play is a prequel to that one, though you don't need to have seen that play to enjoy and appreciate this one. One of the major draws, at least for me, is the participation of Peter Van Norden, who plays Joe McGarrity, a character we hear a lot about before meeting. Peter Van Norden in 2022 gave the best Polonius I've ever seen in any medium. He is an extraordinary talent, though, truly, the entire cast of this production is excellent, with a particularly riveting performance given by Ann Noble as Kate. Another draw is the subject matter itself.

Almost the entire play (with the exception of one brief scene) takes place within the parlor of the home of Mike Keating (Ron Bottitta, known to television viewers for his roles in Lost, Suspense and Criminal Minds). The set (designed by Mark Mendelson) has a fairly warm feel to it, with wood, carpets and thick drapes, and a chaise lounge at its center. A large radio set is upstage center. There is a welcoming vibe to this home, though the stage left section is where certain business is conducted, adding a different element. And we soon learn that this home is actually mostly about business, that business being the aid to fellow Irish people, done through a variety of means. "No need to thank me," Mike says to someone on the phone early in the play. "We look after our own." Looking after one's own people is something that initially sounds commendable, laudable; but as the play goes on, and we learn that looking after one's own might mean putting other innocent people in danger, our thoughts are not so clear on the subject. The family is going to be hosting the head of the IRA and a man brought in to carry out an assassination plot.

There is a lot of humor, particularly in the opening scene, as when we learn that Mike's daughter Kate is dating a cousin, Tim Flynn (Thomas Vincent Kelly, known for his work on 24 as well as appearances on JAG and The Closer), and Mike worries what will happen if she gets pregnant. We have enough idiots in the family already, he reminds her. But beneath the humor, something very serious is unfolding. The fact that there is such humor makes the whole thing all the more real, and perhaps the more sinister. The radio set does play a part in the performance, and as a recording of "God Bless America" comes on, we see Mike strapping on a pistol before the lights fade out, a striking image. When the action resumes, the radio is broadcasting an unsettling speech. Martin Connor (Jeff Lorch), the man hired for a job he is as yet unaware of, asks Mike's son Frank (Tommy McCabe) how they let people spew such fascist garbage on the radio. "Welcome to America," Frank replies. That is a line that received an audible reaction from the audience. A segment of this country did support Hitler and the Nazis in the 1930s, just as a segment of the country now embraces the fascism of Trump and his gang of rat bastards. This play is based on a true story, and the history of it is fascinating (such as the fact that the Irish largely supported the fascists in Spain, and were possibly supporting Hitler as well). But how it applies to our current situation is also part of what intrigues the audience.

Tim Flynn is a rather joyful character that the audience immediately likes and identifies with. He provides a voice of reason, a voice of caution, a voice of humanity, and we can't help but wonder if there is such a voice in the current administration of this country. It is through this character that the main question of the play is posed, which is how far can you go in the name of a good and just cause before you too become a villain. JD Cullum (who had parts on Grey's Anatomy and Bones, and who gave a really good performance as Caliban in 2023) plays Sean Russell, the IRA leader who is one of the faces of power in this story. And he uses his position even to try to force himself on Kate, at which point all sympathy the audience had for him disintegrates. Frank steps in to defend his sister, and Mike is clearly torn, which is fascinating. We want to like him, we want for him to stand up for his own daughter. And when he doesn't, we know that he is capable of dark deeds. Or at least that he will stand by while they are committed, which is almost just as bad. The other face of power, though we learn a waning power, is Joe McGarrity, a man who has become more reasonable in recent days. "When you find out you're dying, you rethink your positions," he says at one point. We can't help but wonder if that's what it takes, again applying the tale of this play to the nation's current situation. But he is also naive, offering the opinion that the courts in Germany will sort things out, something we hear uttered a lot in this country now. Are we too being naive?

The person caught in the middle of everything is Martin, who is at first prepared to go through with the plot, but who begins to have doubts. Kate too, as she becomes romantically involved with Martin, has to question a position she's never questioned before. And, even more difficult for her, has to question her father. This play is fascinating and frightening, with a powerful conclusion you won't likely forget. And the phenomenal cast makes this a production you won't want to miss.

Corktown '39 is directed by Steven Robman, who has a long list of credits both in the theatre and on television. The performance is approximately an hour and forty-five minutes and plays without intermission. The play runs through May 25, 2025. Visit the theatre's website for the complete schedule. The Matrix Theatre is located at 7657 Melrose Ave. in Los Angeles, California. There is no parking lot, but there is a good amount of street parking.

Shakespeare References in Mrs. Pargeter’s Pound Of Flesh

Simon Brett’s mystery novel Mrs. Pargeter’s Pound Of Flesh contains a few Shakespeare references. The first, obviously, is in the very title of the book, which is a reference to The Merchant Of Venice, and specifically to Shylock’s bond. That title is what drew me to the book in the first place. The first reference within the book’s pages, however, is not to Merchant, but to Hamlet. Simon Brett writes: “But Mrs. Pargeter had interrupted him firmly, insisting she always would pay for everything. ‘Neither a lender nor a borrower be,’ she had said, quoting another of the late Mr. Pargeter’s regular sayings (though he may perhaps have borrowed that one from someone else)” (p. 76). Yes, indeed he did. The line is part of the advice that Polonius gives to Laertes.in the play’s first act. It isn’t until near the end of the book that Simon Brett refers to The Merchant Of Venice, writing “Shylock was not more pertinacious in his demands than she in her determination to settle scores with Julian Embridge” (p. 197). And then: “His betrayal of the late Mr. Pargeter was avenged. Mrs. Pargeter had her pound of flesh” (p. 204).

Mrs. Pargater’s Pound Of Flesh was published in 1992. My copy was the hardcover edition.

Desperate Measures (International City Theatre’s 2025 Production) Theatre Review

production photo by Jordan Gohara

The International City Theatre’s season opened this past weekend with the Los Angeles area premiere of Desperate Measures, a musical adaptation of Shakespeare’s Measure For Measure, written by Peter Kellogg, with music by David Friedman. I suppose it’s become a commonplace that Shakespeare is always relevant, but that doesn’t make it any less true, as is evident by this production and the audience’s enthusiastic response. This play takes much of the plot of Measure For Measure, and sets the action in the American west of the late 1800s, when the law wasn’t always quite lawful, when those in positions of power used those positions to their own benefit (that certainly sounds familiar now, doesn’t it?). This production stars Gabbie Adner as Susanna (the Isabella character of Measure For Measure), Aaron Gibbs as Johnny Blood (Claudio of Measure For Measure), Christopher Karbo as Governor Von Richterhenkenpflightgetruber (Shakespeare’s Angelo), Daniel A. Stevens as Sheriff Martin Green (Duke Vincentio in Measure For Measure, with a bit of Lucio’s part too), Madison Miyuki Sprague as Bella Rose (a combination of Mariana and Juliet), and Jason Whitton as Father Morse (an expanded role of the two friars in Shakespeare’s play).

As the performance begins, Bella Rose presents a brief introduction, saying that this work was “adapted for your pleasure/From something called ‘Measure For Measure.’” She also makes reference to the fact that that work is considered “a problem play” and lets the audience know that they’ve cut out half the plot. It’s a funny way to get everyone on the same page with regards to expectations, and Madison Miyuki Sprague is adorable in her delivery. The dialogue of this play is presented in rhyming couplets, which works perfectly with the material and also makes it so the segues into the musical numbers are smooth and natural (something that is not always the case with musicals). For the first musical number, the actors hold frames in front of their faces with character designations at the bottom, such as “Sheriff” and “Governor,” further helping the audience know who is who from the outset, as well as helping set the time and place. By the end of that first number, Johnny Blood is in prison, where he is soon joined by an inebriated priest who no longer believes in the teachings of his own religion. His words of comfort offered to Johnny are: “There is no next life. Once we’re dead, we’re dead.” True words, but hilarious coming from a man of the cloth, and Jason Whitton does a wonderful job delivering them. The priest’s advice to Johnny is to “enjoy life while you can,” to which Johnny replies that he’s going to hang in two days.

Interestingly, when we first meet Susanna (who aims to become Sister Mary Jo), she is aiming a rifle at an annoying crow (well, perhaps not directly at the crow – her aim isn’t quite accurate), further showing that those in religion and government are perhaps less than sincere in their beliefs. Later she is even ready, perhaps eager, to kill a person. The Sheriff has come to see if she might plead on her brother Johnny’s behalf. At first, the most she offers to do is “pray for his immortal soul,” which of course is doing nothing at all, leading the Sheriff to sing, “The more I live, the more I see/Humankind ain’t kind,” and that justice isn’t just. Those lines certainly ring true today, when a convicted felon not only escaped any kind of justice, but managed to become President. Go figure. As the Sheriff sings, “That’s just how it is.” The Governor is clearly the villain of the piece. We know it immediately by his accent. And in his first song, he sings, “Someday they will thank me/For purging those who aren’t our cup of tea.” I know the Trump cult members will be unable to see themselves in those lines, and in this character (let’s face it, they probably don’t attend the theatre anyway), but it is very clear to those in the audience, even before the Governor adds, “Make Long Beach great again,” as he signs an audience member’s program. That line gets an appreciative laugh.

Susanna, like Isabella in Measure For Measure, is ready to give up her suit to the Governor quickly, until the Sheriff convinces her to try again. Then Susanna sings “Look In Your Heart” to him. It is when she gets down on her knees and touches his hand that something does stir within the Governor’s heart, though not quite what Susanna had in mind. Susanna is slow to catch on. When he flat-out tells her, “You must serve my passion for one night,” she responds innocently, “You want me to cook for you?” When she finally understands what he means, she is understandably upset and tells him he can’t do that. He announces that he’ll get away with this because of his position of power, and we in the audience can’t help but think he’s right since we’ve seen it happen in our time. Susanna tells him, “People like you, Governor, are why I turned my back on the world.” This is serious stuff, to be sure, but this is a comedy and there are plenty of laughs, as when the Governor attempts to get the audience on his side, accusing folks of being willing to do just what he’s doing were they in his position. But the audience was not so easily swayed.

One of the elements of Measure For Measure which leads to the work’s designation as a problem play is the bed trick, in which Mariana takes the place of Isabella in Angelo’s bed, unbeknownst to Angelo. However, in that play Mariana does have some claim to Angelo. In Desperate Measures, because Bella Rosa is both Mariana and Juliet (Claudio’s beloved), the bed trick has a somewhat different tone. Johnny encourages Susanna to try it, not realizing his own girlfriend will be the one to sleep with the Governor. One of the production’s best songs is “It Doesn’t Hurt To Try,” a funny number in which the Sheriff and Johnny appeal to Susanna to go forward with the plan. The saloon where Bella Rosa works, by the way, is called Wild Will’s, a little nod to Shakespeare. Bella Rosa herself delivers another entertaining number, going out into the audience and directly engaging with a few people, that itself having a very Shakespearean vibe. And her reaction to the bed trick proposition is hilarious, as she has not the slightest hesitation, and even mentions that she has the costumes at the ready. The Governor enters to a variation of that famous theme from Carmen. The music, by the way, is wonderful. The musicians are stationed upstage left, as there is no orchestra pit. And the actors all have strong voices, with a particularly excellent performance by Gabbie Adner. While the bed trick is normally an off-stage matter in Measure For Measure, in Desperate Measures we are treated to at least the beginning of it, as it presents the opportunity for quite a bit of comedy, including the trouble Susanna has in getting the Governor to agree to tending to the business with the lights off. Christopher Karbo is especially good here.

In this play the bed trick itself does not present a complete solution to the troubles, but instead complicates things further, as the Governor now believes himself in love with Susanna and refuses to honor the agreement to pardon her brother unless she marries him. His delivery of the line “Call me Otto” is hilarious and adorable. This leads to another plan, and so more wild shenanigans. Meanwhile, Johnny and Bella Rosa have a delightful musical number, “Just For You,” another of the production’s highlights. The play contains references to other Shakespeare plays, as when the Sheriff mentions Hamlet’s famous line to Horatio, and the Priest then delivers the line about there being more things in heaven and earth than are dreamt of in your philosophy. The Priest also quotes Henry The Fifth, saying “Once more unto the breach.” It’s interesting, because if these characters are aware of Shakespeare’s work, wouldn’t they then be aware of Measure For Measure, and find it odd that their situation paralleled those of that play’s characters? Well, no matter, for this is a completely enjoyable production, moving at a good pace and offering many laughs as well as a thing or two to think about.

This production of Desperate Measures was directed by Todd Nielsen, with musical direction by Daniel Gary Busby. It runs through March 9, 2025. Visit the theatre’s website for the full schedule. There is one intermission. International City Theatre is located at 330 E. Seaside Way in Long Beach, California.

Shakespeare Reference in Pulp Fiction

The actual screenplay for Pulp Fiction, written by Quentin Tarantino, does not contain any Shakespeare references, but the book’s foreword, by Manohla Dargis, does. Dargis writes, about Tarantino, “Like his idol, Jean-Luc Godard, the young writer-director is a pasticheur and pop-cultural relativist, as content to riff on Elvis as Pam Grier and Shakespeare.”

Pulp Fiction was published in 1994 through Miramax Books. My copy is a First Edition.

Shakespeare References in God Is Not Great

Christopher Hitchens’ God Is Not Great: How Religion Poisons Everything contains several Shakespeare references. The first couple are to Shakespeare himself. Hitchens writes, “We are not immune to the lure of wonder and mystery and awe: we have music and art and literature, and find that serious ethical dilemmas are better handled by Shakespeare and Tolstoy and Schiller and Dostoyevsky and George Eliot than in the mythical morality tales of the holy books” (p. 5).And then: “The next time I got married, which was by a Reform Jewish rabbi with an Einsteinian and Shakespearean bent, I had something a little more in common with the officiating person” (p. 16). A little later, he refers to King Lear: “Nothing optional – from homosexuality to adultery – is ever made punishable unless those who do the prohibiting (and exact the fierce punishments) have a repressed desire to participate. As Shakespeare put it in King Lear, the policeman who lashes the whore has a hot need to use her for the very offense for which he plies the lash” (p. 40). The book also contains a couple of references to Hamlet. Hitchens writes, “Ever since they were forced to take part in this argument, which they were with great reluctance, the religious have tried to echo Hamlet’s admonition to Horatio that there are more things in heaven and earth than are dreamed of by mere humans” (p. 80). And then: “‘What a piece of work is a man!’ as Hamlet exclaims, before going on to contradict himself somewhat by describing the result as a ‘quintessence of dust’; both statements having the merit of being true” (p. 85). He then mentions Shakespeare again: “It does not matter to me whether Homer was one person or many, or whether Shakespeare was a secret Catholic or a closet agnostic. I should not feel my own world destroyed if the greatest writer about love and tragedy and comedy and morals was finally revealed to have been the Earl of Oxford all along, though I must add that sole authorship is important to me and I would be saddened and diminished to learn that Bacon had been the man. Shakespeare has much more moral salience than the Talmud or the Koran or any account of the fearful squabbles of Iron Age tribes” (pages 150-151).

God Is Not Great: How Religion Poisons Everything was published in 2007. The copy I read (from the library) was published in 2009, and included a new afterword.