When Edith and Matthew find Rose in a nightclub in London, Matthew describes it as something akin to the outer rings in Dante’s Inferno.
Tim Burton, Beetlejuice (1988)
“In the film Beetlejuice there is a scene in which the character Beetlejuice is terrorizing the house residents, and the case worker, Juno, creates a distraction: Dante’s Inferno Room.”
Contributed by Christopher Beckham (University of Texas – Austin, ’16) and Karalee Shotola (University of Texas – Austin, ’16)
Director Tina Landau’s Dream Project
“Recently, Paula Vogel’s Civil War Christmas (New York Theater Workshop); now, Bill Irwin and David Shiner’s Old Hats (Signature).
BEGINNINGS ‘I was like that kid in Annie Hall who says, ‘I’m into leather,’ except I’d walk around as a 6-year-old and say, ‘I’m into directing.’ I was raised on, and fell in love with, Broadway musicals and later fell in love with more experimental forms.’
AESTHETIC ‘I don’t gravitate toward new plays set in middle- or upper-class living rooms or kitchens. I prefer giving voice to the outsider, the minority, the renegade, and I love texts with stage directions like, ‘And then they fly to the moon and have a picnic with food that keeps changing color.”
CHANGING TIMES ‘I’ve always experienced Off Broadway and Off Off Broadway as being hospitable to me and other women I know. That said, I didn’t realize there were so many doing so much great work in New York right now.’
DREAM PROJECT ‘My own adaptation (with many collaborators) of Dante’s Divine Comedy, with characters and stories transposed to contemporary culture, with music by folks like John Zorn, Ratatat, Janelle Monáe.'” —Eric Grode, The New York Times, January 31, 2013
Paolo and Vittorio Taviani, Caesar Must Die (2013)
“The Tavianis are now in their 80s, but at an age when most of their contemporaries have retired they continue making films, and in seamless unity. Their latest effort, Caesar Must Die, which opens on Wednesday, is one of their most artistically ambitious productions: a fictional feature with elements of a documentary and the theater, about the staging of Shakespeare’s “Julius Caesar” in a maximum-security prison in Rome.” […]
“Caesar Must Die was born when a journalist friend of the Tavianis urged them to visit a performance by the Rebibbia troupe. They were reluctant at first. ‘We thought, oh, it’s going to be the same old thing,’ Paolo said. But once they saw the prisoners performing Dante and Pirandello, they changed their minds.” –Larry Rohter, The New York Times, February 1, 2013
Sean Curran Company, Fireweather (2013)
“How do they dance in hell? According to Sean Curran’s new Fireweather, the first half of his company’s program at the Joyce Theater, the damned gravitate to the floor. Stretch and spring up as they might, something keeps pulling them down.
Both Fireweather and its score, Charles Wuorinen’s ‘Mission of Virgil,’ are inspired by Dante’s Inferno. In a program note Mr. Wuorinen stresses that his atonal composition isn’t narrative and that his attitude, like Dante’s, is mocking. Mr. Curran’s attitude is more reverent, and his dance much more like an illustration.
Though there is no clear Dante or Virgil, there is a journey deeper into the circles of the underworld, with projected titles to announce each section. Warriors march and kick. Bodies mass into six-armed monsters. A naked Satan struts and stumbles. The adulterers Paolo and Francesca circle each other and kiss.
Much of the choreography has a monumental quality that recalls the mythic works of Martha Graham. Tense tableaus are composed like the paintings of old masters. Yet despite strong dancing and choreographic craft, the work falls short of its august models. The titles that guide us set up expectations nearly impossible to fulfill.” –Brian Seibert, The New York Times, February 1, 2013
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