The threat is especially present for these countries, as experts believe the nuclear weapons that the regime currently possesses could be attached to one of their shorter-range missiles. Director of the Australian Strategic Policy Institute, Andrew Davies, says "it would be prudent to assume that they can do what the US and Soviets managed in the early '60s". He added that nuclear warheads could even be fitted into mm artillery shells if the north wanted. The regime's latest test, on September 15, appears to put US military bases on Guam into operational range, but missiles that could reach the mainland US or Australia have not yet been widely tested.
However, the pace and enthusiasm of testing indicates it won't be long before the world has to deal with a nuclear-armed North Korea that can strike anywhere. But both experts said they would be surprised if the regime didn't possess a nuclear device small enough to attach to an ICBM. Topics: unrest-conflict-and-war , nuclear-issues , korea-democratic-peoples-republic-of.
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2. The pace of technological advancement has quickened
Or perhaps the socially and politically omnipresent MeToo movement's focus on sexual assault and harassment might be scaring theaters away from The Two Gentlemen of Verona , a slapstick comedy with stalking and rape as plot points. That, however, is the exact kind of context, specific to as opposed to, say, , the midpoint of Shakespeare's playwriting career , that this journey intends to engage through Shakespeare's plays.
His works also titillate personal relevancy, pertinent especially at this particular stage of my life. A father of two the eldest a Shakespearean actor in New York already playing old geezer roles, the youngest just announcing his impending marriage in the fall in Seattle , I turn 60 this year; I'm entering Jacques' sixth age of man's mortality, shifting "into the lean and slippered pantaloon. Sentiment of another kind made this Twelfth Night my first pick for this yearlong excursion through America's Shakespearean landscape.
This time I know what's at the other end of the road: Fiasco. Approaching New York City—by plane, by train, or, as now, by car—always thrills me. During the day, you're navigating a cat's cradle of roads while speed-reading highway signs, the skyscrapers suddenly sprout up from the horizon beyond the Jersey swamps.
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At night, New York emerges from the distance as a galaxy of lights, with the red rocket-topped Empire State Building piercing through the middle of it all. I love New York City. I love its vibrancy, its attitude, its pace, its people—salt-of-the-earth kind of people, brusque as they go about their business but courteous to the core.
New York is, of course, one of the world's capitals for theater. We come here a lot, but that's as much due to supply as quality. Broadway is famous, but we see theater as good or better in both talent and execution, especially for Shakespeare, in regional theater or "the provinces" which I'm here defining as anywhere outside a nonmajor metropolitan center; in America, "the provinces" is generally defined as anywhere but New York, Chicago, and Los Angeles; in New York it is defined as anywhere but New York.
When we come to New York to see Shakespeare, it's usually at a theater or even a space, like a parking lot that is designated with one or more tags of Off before Broadway , or the production is a loaner from the world's other major capital for theater, London.
As inviting as we find this city, it is cold on this night: 15 degrees, snow piled along the sidewalks, and slush in the streets. Turn a corner and the temperature drops to well below zero as an arctic gust blasts your skin, even that covered in clothing. This is the day after the bomb cyclone hit the East Coast meteorologists seem to come up with new names for "storm" every year , and even New Yorkers seem daunted by the bitter cold: the streets are relatively empty. We trudge our way to Classic Stage Theater on East 13th Street near Union Square and walk in to warmth: the lobby coffee shop is packed with patrons distributed evenly across four generations.
The doors open to the seat deep-thrust theater. Inside, all is brick walls, wood-board floor, and ropes under a barn ceiling's light grid. Rustic trunks, furniture, and a lobster trap occupy the center of the stage. At the back are various instruments, and a ship's wheel inside a fishnet attached to an upright piano. Typical of Fiasco Theater, a company of young actors who delve deep into Shakespeare's texts to create vibrant theater using as few as six cast members. The company's breakthrough production of Cymbeline , featuring a multitasking trunk, remains one of my favorite productions of all time.
For Twelfth Night , the company expands to a cast of 10, which, with David Samuel doubling as Antonio and Fabian, still requires textual massaging: Maria Tina Chilip gets additional duty in the play's last scene. As I anticipated, Fiasco's Twelfth Night is not only worth the four-hour drive to New York back home again in the morning , it is worth the frostbite. The actors stage a laughter-full play and create a community experience by interacting with the audience before and during the play.
Nevertheless, people wonder why I would see Twelfth Night , or any other Shakespeare play, 27 times. The answer is that I've seen 27 Twelfth Night s. My niece saw the movie Titanic a couple dozen times: the director was always James Cameron at every showing, and Leonardo DiCaprio and Kate Winslet never changed their interpretations of Jack and Rose. Tonight I see a Twelfth Night I've never seen before, thanks to the intelligence and insight of this company. And if I were to go to the same show tomorrow night—the last of the play's run at Classic Stage Company—it would be a different Twelfth Night because the cast will be interacting with a different audience.
That's the thrill and the art of live theater. One scene in particular sets this production apart from all other Twelfth Night s, even though the way Fiasco does it seems the obvious way to stage the moment. Young, speaking the speech with rhythmic resonance, crosses to Austrian and grabs her shoulders, staring deeply into her eyes as she "halloos" Olivia's name "to the reverberate hills. Austrian's Olivia is transfixed: "You might do much," she replies in wonder. And in love. Fixing the physical to the poetical shows us that exact moment's overwhelming emotional intensity that Olivia can never shake off.
To read the review of this production, click here.
Issue 1: 2017
My Shakespeareances. She was worried I might sound like a flat-earther. My phrasing was deliberate: I'm going to the corners of the continent in my quest to see the 38 plays in Shakespeare's Canon at 38 different theaters. Fairbanks, Alaska, is in the works. So is San Diego. Hawaii is in the mix—if I can work it into the schedule, it's part of the continent; if I can't, it's an island chain in the middle of the Pacific.
My northeast corner is undetermined, as my intended target's status is in flux, but I have a couple of fallbacks in the queue. As for the southeast corner, we're on our way there now: Shakespeare Miami to see Hamlet.
We've visited Miami before baseball trips , but this is our first visit to Shakespeare Miami, "Florida's professional Shakespeare company," says its slogan, "Saving the world … One iamb at a time. The company offers free Shakespeare productions at different open-air venues each weekend this time of year in and around Miami as far north as Boca Raton, Florida.
This weekend we will be seeing Hamlet at Pinecrest Gardens, a publicly owned outdoor recreation area with an amphitheater. We're still en route—air traffic today has been hampered by a fog-socked mid-Atlantic corridor—but our plans are to see the play tonight, and then tomorrow take in a sensory-friendly performance, which is the focus of this visit. Colleen Stovall, Miami Shakespeare's producing artistic director, has coordinated an opportunity for us to meet with local Shakespeareans and historians who will give us specific insights into Miami's relationship with Shakespeare, which apparently dates to the community's founding.
Elder Son. Act 1. Tableau 1 scored for Vocal Score
Where once a large raptor swooped inches over my head from the rafters to the stage, I'm watching Hamlet set a mousetrap for Claudius in Shakespeare Miami's production of William Shakespeare's play—or, rather, a close proximity of his play. One of the longest tenures of my journalism career was covering the amusement industry, i. I was, for real, a professional roller coaster rider. One of the theme parks I visited was Parrot Jungle, both at its original site in a residential neighborhood south of Miami, and its current location near downtown Miami in fact, the park flew me in for a private visit a few months before the new location opened to the public in What I didn't know until today was that the Village of Pinecrest, that residential neighborhood south of Miami, took over the old Parrot Jungle property and turned it into a community recreation park, maintaining the paths, ponds, and flora of the theme park but not the famous flamingos and its other fauna and adding a new library and community center.
The entire site was added to the National Register of Historic Places in Sarah and I stroll through the grounds and past the original entrance gate, bird cages, and snake houses. The seat amphitheater where Parrot Jungle staged its bird shows has become a venue for concerts its jazz series is particularly popular , ballet and modern dance, and theater, including Shakespeare Miami, now in its 13th season, which spends one weekend of its four-site tour of South Florida on the premises.
It is at times a challenging venue for watching Shakespeare: the acoustics using stage microphones can be problematic, the peacocks and peahens congregating on the roof next to the stage can be distracting though a couple seem intrigued enough to settle in to watch the show , and the constant coming and going of patrons can be annoying.