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#IHave, #IWill

I picked the wrong week to take a break from Facebook. Or the right week, depending on your take. Following the accusations leveled against Harvey Weinstein and the chain reaction of revelations and confessions about sexual harrassment in the film industry, a pair of hashtags swept across social media (or at least across my feed,…

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Transfortressing Gratitude

The Fortress gig is the first job that has transformed me physically. It’s not exactly profound, but it’s a telling reveal of my privilege that, at 42, I’m developing work calluses for the first time. Mind you, the calluses are from carrying a replica 18th-century musket around all day, so that’s cool. Similarly, my tan…

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Political Shakespeare in the Time of Tyrants

For the second time since the election, Donald Trump has butted antlers with the professional theatre industry. I guess it’s not that surprising; after all, he seems hard-wired to antagonize everyone within his reach, and thanks to Twitter and the U.S. Presidency (in that order), his reach is vast. Still, it’s disorienting to have worked…

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Transforming Failure

“No matter. Try again. Fail again. Fail better.” This quote is inscribed upon a brass plaque outside the Boardmore Theatre at Cape Breton University, where I work. The author is Samuel Beckett, the fatalistic Franco-Irish playwright whose greatest claims to fame are writing Waiting for Godot and taxiing a young André the Giant to school…

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Ham After Ham

The question is, now what? Hamlet closed four days ago, and my life is settling back into its standard routine, give or take a snow day or two. I can still bask in nostalgia for awhile, but this blog needs a raison d’etre if it’s going to continue. Originally, I conceived of H2016 (or CBUHamlet…

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Ham and Sharp: 1991-1993

As I try to ease myself back into the habit of posting in this blog, I’m looking over the categories I established for myself in January, to see which one’s I’ve neglected. I enjoyed writing the “Ham and Sharp” articles, which detailed my own early relationship to the Danish Play. But I faltered right around…

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Did Shakespeare Play the Ghost?

I had thought to append this as an afterthought to my Line By Line post about 1.1.49, but I decided it deserved its own post. You’ll recall how the two shared bits of dialogue that comprise line 49 both provide stage directions for the Ghost’s exit: MARCELLUS: It is offended. BARNARDO:                        See, it stalks away!…

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