This is a very good reading of the plays - the director uses lots of music and sound to the reading to give it the feeling of a full performance. The translation is engaging and contemporary. Some of the actors are a bit hammy and seem to enjoy the sound of their own voices too much, but otherwise this does a great job of communicating the power of the plays.
"Wild at Heart" is a crazy novel. It is almost plotless and most of it consists of characters recounting bizarre anecdotes in cartoonish Southern dialect. But it's enjoyable for the irrepressibly charming relationship of Sailor and Lula whose indestructible love for each other is very moving despite the absurdity and craziness of the world they travel through.
Reading Barry Gifford out loud is incredibly difficult, thanks to his use of extreme Southern dialect? And his densely-packed pop culture ref'rences? You know? Eva Kaminsky does a pretty good job. It's not a bravura performance, as the drawl gets a little monotonous at times, but on the whole she captures the lazy, spaced out style and the accent really well, and succeeds in ensuring that the protagonists are loveable. She made we want to listen to the rest of the series.
I won't add to all the other plaudits. I'll just say that if you're wondering what all the fuss is about Roy Dotrice, you just have to get through the first chapter. His reading starts off a bit stilted and by an unfortunate coincidence all the characters in chapter 1 are little old men who all sound the same. After chapter 1 he warms up and gets to show off his range, which is quite wonderful. Trust in Roy!
I can't add much to the many other plaudits here, which are well earned. I'll just say that if you don't enjoy the first half hour, stay with it: it's not like that all the way through, and you will eventually acknowledge that it was necessary to begin the book that way. Trust the author, he knows what he's doing!
This is a very entertaining piece of hard science fiction with a delightfully tense and unpredictable storyline. I'm giving it 4 rather than 5 for the somewhat overlong engineering sections. There's also a glaring plot hole in the first third of the book and a point two-thirds in where the author's reluctance to represent any genuine emotion becomes exceptionally cowardly, but I can't explain these flaws without spoiling the plot, so you'll just have to see if you agree with me! It's worth putting up with them.
I chose this book because I like plausible sci-fi set in our solar system and had run out of Kim Stanley Robinson and Arthur C. Clarke. On one level it disappointed me as it doesn't have the epic grandeur of those novelists. There are no journeys across the landscapes of planets and moons; instead, the novel is set almost entirely on grungy cargo vessels and in the corridors of seedy space stations. This wasn't really what I was looking for, but the novel is undeniably successful at doing what it's setting out to do: that is, create a blue collar sci-fi thriller in which the heroes live in the gritty underbelly of mankind's future.
The writing is solid if unexceptional and the story, though ultimately quite silly, is unpredictable and well-orchestrated. The narrator is equally competent, although I wish he could have distinguished the two protagonists better - they kept blurring together in my mind.
I learned a lot from this course, although parts of it are more valuable than others. The best sections are those which give advice on meditation practice and how to overcome the difficulties that challenge the beginner. The lecturer has lots of useful, practical ideas that are very helpful. I found the later sections where he spends a great deal of time moralizing in a rather banal way to be less interesting, although here and there I found nuggets of thought-provoking ideas about how mindfulness can help us live our lives better - the chapter on accepting mortality is particularly good.
The lecturer speaks WAY too slowly and has a slightly condescending tone, as if he is explaining the subject to a small kitten. However, I found that if I played him at 2x speed he sounded like a normal human being and was perfectly listenable.
I didn't finish this one. I was expecting some fireworks.from Branagh's Richard but his performance feels rushed, muted, and undefined, with little to hold the interest.
The sound quality is poor and I think this may be a recording of a stage production, because parts of it are baffling - in particular, there is a loud tapping sound throughout the opening speech that makes no sense without visuals (is it maybe Richard's walking stick? no idea, but it's really irritating).
Maybe it gets better later on, but I couldn't summon the energy to find out. A misfire.
This is a perfectly decent recording of The Tempest. Sir Ian is an excellent Prospero and the rest of the cast are competent, although the Caliban is a bit awkward, The sound quality is a little murky sometimes.
This is a fun production of "Much Ado", with some lively and enjoyably performances, especially from Tennant and Spiro as Beatrice and Benedick. The text is cut a bit, but not to an extent that it will disturb non-purists.
This is a competent performance of Pericles that never becomes anything more interesting than that. The actors all seem to know what they're doing, but don't seem especially excited to be doing it.
The text is cut fairly heavily and occasionally rearranged, so avoid this recording if you're an extreme purist.
There is an range of accents on display (Gower is Caribbean, the Tharsians are African, Pericles is Scottish, etc.) which is cool, but some of them take some getting used to.
The sound ambience is a little odd; in some of the scenes the characters sound like they're talking inside tiny little rooms, which doesn't really gel with the play's epic scope.
In summary, it's fine, and - let's face it - recordings of Pericles are hard to find, so beggars can't be choosers.
Yes, this is Alan Cumming performing Macbeth solo, doing all the characters in slightly different voices.
The inspiration for this recording is Cumming's one-man theatre show in which he performed the entire play by himself. However, that production had a concept: it was built around the idea of a man in an insane asylum,re-enacting Macbeth, and was full of striking visuakl imagery.
None of that is present in the recording, so all you're left with is Alan Cumming performing Macbeth by himself. And I'm sorry to say that even Cumming doesn't have twenty different voices in his repertoire. After a while the characters blur together and it all gets rather monotonous. And he doesn't bring anything unique or original to the play.
Mind you, the way Cumming rolls his r's and the excitable way in which he reads the stage directions are almost worth the credit.
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