Shakespeare Reference in Star Trek: Battlestations!

Lots of Shakespeare references have appeared in episodes of the various Star Trek television series and films (one of the films is even named after a phrase from Hamlet), so it came as no surprise to find a Shakespeare reference in Diane Carey’s novel, Star Trek: Battlestations! Carey writes: “He puzzled for a moment, then held up a finger. ‘Oh. You mean like if you fire an infinite number of shots at an infinite number of monkeys…’ ‘You’ll eventually kill Shakespeare’” (p. 60). That is a joke on the theory that if a monkey randomly pressed keys on a typewriter for infinity it would eventually produce Hamlet.

Star Trek: Battlestations! was published in 1986.

Shakespeare References in What Was Mine

I’ve been revisiting some books I enjoyed back in high school and college, including Ann Beattie’s What Was Mine, a collection of her short stories. Two of the stories contain Shakespeare references. The first of those, “You Know What,” contains a reference to Hamlet. Well, sort of. Anne Beattie writes: “At the end of that week I was paired with him in a scene. It was Rosencrantz and Guildenstern Are Dead. I was Rosencrantz. We stood on the teacher’s sweatshirt, which was the boat, and as we talked, his eyes moved one way and mine moved another” (p. 141). So, it is really a reference to Rosencrantz And Guildenstern Are Dead, but of course that entire play is an adaptation of Hamlet. The play is mentioned a second time in the story: “‘Not that,’ he says. ‘The story about acting class. Rosencrantz and Guildenstern’” (p. 149). Then, in “What Was Mine,” Ann Beattie writes, “It became a standing refrain between my mother and Herb that some deliberate merriment had been orchestrated just for them, like the play put on in A Midsummer Night’s Dream” (p. 172).

What Was Mine was published in 1991. The copy I read this time was a First Edition from the local library.

Shakespeare References in Where Did I Go Right?

On my trip to Boston, I took two books to read, both about producing films, and both with questions as titles. The first was What Just Happened? by Art Linson. The second was Where Did I Go Right?: You’re No One In Hollywood Unless Someone Wants You Dead, by Bernie Brillstein with David Rensin. Both books contain Shakespeare references. Where Did I Go Right? contains several references. The first is to The Merchant Of Venice, with Bernie Brillstein writing, “I had a week to come up with the money, so I took a loan from a shylock” (p. 85). He makes two more similar references: “I paid off the shylock and everyone else, and then I only had to pay back my uncle” (p. 86) and “If you owe a shylock $70,000 when you only make $25,000 a year – and all of that goes to rent and alimony – show-business anxiety is a piece of cake” (p. 87). The next reference is to Shakespeare himself: “An actor can’t just walk into an ‘acting’ club and recite Shakespeare for nothing” (p. 242). Then we get a reference to Macbeth: “I’m not saying that I regret any of it. What’s done is done” (p. 262). The line “What’s done is done” is spoken by Lady Macbeth in the third act. The next couple of references are to Shakespeare. Brillstein writes, “I’m just worried that the magnifying glass over our industry – all in the name of keeping us interested enough to buy movie tickets and CDs, watch TV shows, etc. – makes it seem like, as James Poniewozik wrote in Salon, an on-line magazine, that our lives are about ‘dynastic struggles on the scale of Shakespeare’s histories’” (p. 271). And then: “I was in New York on business and I was tired, but Ileen Maisel insisted that I see Liaisons Dangereuses. The Royal Shakespeare Company play, written by Christopher Hampton, was on Broadway after an earlier run on London’s West End” (p. 279). The book’s final reference is to The Merchant Of Venice: “Everyone extracts their pound of flesh” (p. 294).

Where Did I Go Right?: You’re No One In Hollywood Unless Someone Wants You Dead was published in 1999. The copy I read was a First Edition, withdrawn from the library.

Shakespeare References in What Just Happened?

I brought two books to read on my trip to Boston, and both contain Shakespeare references. Both are about producing films, and the titles of both are questions. The first one I read was What Just Happened?: Bitter Hollywood Tales From The Front Line by Art Linson. This one contains two references. The first is a reference to Macbeth. Art Linson writes, “You’ll see, Mamet’s gonna have to sound like Richard Burton in a tutu reciting Macbeth before you’re gonna get the cash” (p. 32). The second makes use of the title of one of Shakespeare’s comedies. Linson writes: “After all, we had more than a week before we burned some film, and there was no hard evidence that Alec was going to hold on to the Long Island Santa Claus look. At least not once he thought it through. This was much ado about nothing” (p. 69).

What Just Happened?: Bitter Hollywood Tales From The Front Line was published in 2002 by Bloomsbury. The copy I read was the First U.S. Edition.

1984 (The Actors’ Gang 2019 Production) Theatre Review

The book that comes up over and over in conversation and in political criticism these days, more than any other, is George Orwell’s Nineteen Eighty-Four. When we have a president who actually tells his followers not to believe what they see or hear, and they find no problem with that, we are deeply in disturbing territory, the territory of that novel (the exact quote from Trump is “What you’re seeing and what you’re reading is not what’s happening”). This is the perfect time to revisit Orwell’s work, the perfect time for a revival of Michael Gene Sullivan’s 2006 theatrical adaptation. The play was originally produced at the Actors’ Gang Theater, where it was directed by Tim Robbins. Since then it has gone on to several national and international productions. And now it is being revived at the place where it began, where it is once again directed by Tim Robbins, who is also part of the impeccable cast.

The acting space is a square in the middle of the audience, and there are two television screens at opposite sides above the audience. A heavily pixelated eye stares at us from each screen. We are immediately part of the world of the play. We are being watched. As the audience files in, instrumental renditions of songs like “Que Sera, Sera” and Monty Python’s “Always Look On The Bright Side Of Life” play. Before the play begins, the usual announcements are given a delightful twist, and we are told that The Ministry Of Theatre requires us to silence our cell phones, providing a laugh and helping to immerse us further into the Orwell’s world. As the play opens, Winston Smith (Will Thomas McFadden) is lying on the floor, while four party members (Tom Szymanski, Guebri VanOver, Bob Turton and Hannah Chodos) surround him. A voice sounds from one corner of the room, and all of them turn to face that voice. “How did it begin?” It is a voice of calm authority, a voice that is in control, a voice that can takes its time. (Tim Robbins provides that voice.) And thus begins Winston Smith’s interrogation. He is somewhat disheveled, dressed in an open shirt over a T-shirt, and is barefoot, as if he had been suddenly taken from his home at night. The four party members take turns becoming the people that Winston is questioned about and even Winston himself, recreating scenes from Winston’s diary in order to determine the truth – or, at least, their truth – and to cure him of his insanity before executing him. But in doing so, they seem to be affected, even changed somewhat. Or at least one of them is affected thus. It is fascinating to watch, and the actors do an absolutely tremendous job creating and inhabiting several different people while still maintaining the reality of their main characters. Also, they at times move behind the audience, which makes us feel a bit uneasy, like we ourselves are on trial. We are being watched.

At a couple of points, the television screens suddenly show official news footage, interrupting the action of the play, both for the characters on stage and for those of us in the audience. All heads turn to those screens, and we are all given the same information – or misinformation – about production being up or about a victory in the ongoing war, news that the party members cheer. And you can’t help but wonder how long it would take before audience members began cheering it as well.  One thing that is interesting is how rooted the insidious deceit is, popping up in relatively mundane situations. For example, there is a bit about how the chocolate rations were raised from five to seven ounces, though Winston recalls that actually the rations had gone down from ten to seven ounces. Obviously, this is not a matter of life and death, but the party members keep repeating the lie until Winston gives up. For, again, it’s not all that important how much chocolate people are receiving. This scene reminds me of two things – how Donald Trump keeps repeating lies until people give up contradicting him, and how I recently saw a misleading sale price at Ralph’s (a grocery store here in Los Angeles). Refried beans were advertised as being at a new lower price, two for three dollars, when previously they had actually been a dollar each. The price had gone up, but the store was claiming the price had gone down. So here we are.

It is also interesting how the audience finds humor in the play at the beginning, perhaps feeling a comfortable distance from the action still at that point, but as the play progresses, the laughter dies away. And by the time that O’Brien shows up in the flesh, we are in frightening territory. Tim Robbins delivers a chilling performance, particularly as his O’Brien is so businesslike and rational. Earlier, when Winston and Julia swear allegiance to the resistance movement, it feels the same as swearing allegiance to the authoritarian government, which is interesting and terrifying. They are ready to kill for their cause, and as we’ve been identifying with these characters, we can’t help but question our own capabilities for murder, even for a cause we might believe to be just. O’Brien raises just that point later, questioning Winston’s supposed moral superiority, and thus calling into question the moral superiority of those in the audience. And that is partly why attending a performance of this production is a powerful and intense and ultimately a very personal experience.

This production of 1984 was directed by Tim Robbins, and runs through December 7th. There is one fifteen-minute intermission, and including that intermission the performance is approximately two hours and fifteen minutes. The Actors’ Gang Theater is located at 9070 Venice Blvd. in Culver City, California. Visit the Actors’ Gang website for full schedule.

Shakespeare Reference in Till Death Do Us Part

John Dickson Carr’s mystery novel Till Death Do Us Part contains a reference to Hamlet. John Dickson Carr has his character Dr. Fell say, “It was the perfect picture – ahem – a dramatist hoist with his own petard” (p. 71). That is a reference to Hamlet’s line “For ‘tis the sport to have the engineer/Hoist with his own petard” from Act III.

Till Death Do Us Part was published in 1944. The edition I read was the second printing of the New Bantam Edition, published in 1965.

Shakespeare References in The Mummy Or Ramses The Damned

Anne Rice’s novel The Mummy Or Ramses The Damned contains a few Shakespeare references. As Cleopatra is a character in the story, you might expect a couple of references to Antony And Cleopatra, and you’ll get them. But there are other references as well. The first reference is related to Antony And Cleopatra. Anne Rice writes, “A Greek Cleopatra, not the silly Egyptian image so popular in programmes for Shakespeare’s tragedy, or in the engravings which illustrated Plutarch’s Lives and popular histories galore” (p. 44). A second reference soon follows: “The splendour of the supernatural was a thing for stories and poems, and Shakespeare’s plays” (p. 45). And then we get another reference to Antony And Cleopatra: “Shakespeare’s Antony and Cleopatra was enjoying a long run in London. She and Alex had meant to go and see it, but then Alex fell asleep during serious plays” (p. 48).

The next is a reference to a statue of Shakespeare: “Westminster Abbey. They walked together under the high arches. Such splendor. She showed him the cenotaph of Shakespeare” (p. 116). (It is interesting to me that this book contains two different spellings of the word “splendor.”) And then we go back to Antony And Cleopatra: “The greatest men of the time paid court to her. Hers was a royal soul in every sense of the word. Why do you think your Shakespeare wrote about her?” (p. 189). This novel also contains a reference to Macbeth. After Alex, concerned for his father, says he’s going to call the doctor, Elliott says: “Would Lady Macbeth have benefited from a doctor? I don’t think a doctor would have helped her” (p. 301).

The Mummy Or Ramses The Damned was published in 1989. The copy I read says “First Edition,” but it is a large trade paperback, so clearly is not a first edition.