This month Air India’s Inflight Entertainment Worldwide introduces “Gladiator 2”, “Conclave” and “Tikkun Olam” to its lineup.

“Tikkun Olam” is a short film, reviewed as "an urgently needed story of hope, with blistering performances". In this film a young boy in Washington, D.C. brings dignity to a homeless veteran. The film’s central theme, Tikkun Olam - or healing the world - was inspired by Rabbi Lord Jonathan Sack's book “To Heal A Fractured World”.  I was pleased to have done the lead.

Air India is recipient of the 2024 Leading Airline Inflight Entertainment Award at the World Travel Awards (WTA) – the leading awards program in the airline industry.

KING LEAR Film - Act 2 Scene 4

Stream on Amazon Prime - Episode 6

When Lear arrives at Gloucester’s, the political tensions that have been building towards upheaval breach the surface, while the impending storm looms inevitably closer. This scene is structured around a slow build towards a breaking point, yet at its heart is only deterioration. The stability of the kingdom, alliances, familial bonds, and Lear’s health and sanity all begin to fall apart.

The Fool, ever shrewd to the point of seeming prescience, warns Kent of what is about to happen.  He is alarmed by the changes he sees in Lear and, knowing Goneril and Regan’s true nature anticipates that he is about to be pushed into further devolution. He urgently cautions Kent that Lear’s decline will be swift and brutal, that it has already begun, and that it will not end well for those who follow. This moment is particularly poignant, as the Fool speaks to Kent not as Caius, but as himself. In that sense, it echoes the moment of recognition during 1.4, but goes beyond that brief silent exchange. This is not a moment of commiseration; rather the Fool is compelled by his very nature to warn Kent of the danger of following a doomed man. Yet he also knows that neither Kent nor himself will head that warning. They are both steadfast in their devotion to Lear and, however foolishly, will remain at his side in spite of what is to come, and indeed because of it.

OTHELLO Master Class 7

 OTHELLO Master Class 7

Audio Podcast Series of Master Classes for Professional Actors exploring Othello with Alexander Barnett - This class is an continuing in-depth discussion of the character Desdemona.

The Eyes of Van Gogh in Spain

A cultural center in Spain has presented my film The Eyes of Van Gogh calling it "a cinematographic work that offers an intimate and profound vision of the life and challenges faced by the iconic painter." Greatly appreciated.  Presenter  The film is streaming on Amazon Prime.  

KING LEAR Film - Act 4, Scenes 1, 2

 Stream on Amazon Prime Episode 10      

ACT FOUR

 4.1

Gloucester has endured torture and disfigurement, yet like Lear, he achieves belated clarity through his suffering.  His mental anguish thus far eclipses the considerable physical pain he is in.  As Gloucester is cast into exile from his own home and left with no life, no future, no possibilities, his condition ironically mirrors Edgar’s own flight from Gloucester’s persecution.  Yet rather than desperately seeking survival, the only driving force that compels Gloucester onward is his crippling guilt.  His only wish is that he might have the chance to touch Edgar again and seek his forgiveness, yet he knows that to be hopeless.   He is overcome by the futility of his existence and is eager to end his own life and put an end to this total despair.

Gloucester realizes that he has wasted his life and his sudden insight has come too late.  Yet Gloucester also proved his loyalty and courage in aiding Lear despite the consequences he knew he might face; despite his abject state, we see that Gloucester has in fact changed. Previously, believing in Edgar’s betrayal despite little evidence, Gloucester turned quickly toward thoughts of revenge and became fixated on bringing his patricidal heir to justice.  Now, however, Gloucester expresses no desire to seek revenge on Edmund, even when the evidence against him is irrefutable. Instead, Gloucester thinks only of Edgar and how he has wronged him.  Any anger he feels is directed only towards himself for being so foolish.

Cry, the beloved country

"Well, when the president does it, that means that it is not illegal" - Richard Nixon.

This is on every single person who voted for Donald Trump - I'll be very generous and say especially on those who voted a second time.

You now have the government you deserve.

Your innocent children and grandchildren will pay for this.  For who knows how long.  If he is reelected then probably forever.

Unfortunately, so will the rest of us.

Director's Notes: Characters in MACBETH

MACBETH is a study in tyranny; its origin, its psychology, its legacy. There are no heroes in MACBETH.  It is not a tragedy of character but rather a tragedy of consequence.  The ultimate tragedy in MACBETH is not the horrors and sufferings that Macbeth endures but what happens to the innocent victims of tyranny.  The ultimate guilt in MACBETH belongs to the people who allow him to become king and to those who carry out his heinous deeds after he assumes power.  Stalin, Hitler, Pol Pot, ad infinitum ad nauseum.  Individually they are the epitome of mediocrity, degradation, ruthlessness and brutality.  Surround them however with cowards, perverts, and the herd mentality, and all hell will break loose.

How anyone could listen to what Macbeth says and witness the absolute horrors he perpetrates, and then conclude that innately he is a man of nobility and honor is beyond rational comprehension.  Or perhaps it is a horrible comment about the psyche of a sizable part of the human race.

Macbeth speaks some of the most beautiful poetry in all of Shakespeare and all too frequently the beauty of the poetry is mistaken for the beauty of the man.  The eloquent poetry is of the medium and not the character. To judge his poetic imagination by the quality of his speech is a mistake.  The poetry is Shakespeare's but the tendencies, desires and actions are Macbeth's.  He, like his wife, is self-corrupted.  

From the very beginning killing is what he does and murder is on his mind.  He is a free agent and a voluntary sinner.  The weird sisters speak not one word of murder or intrigue to him.  They make a prediction that he will be king but they never imply, nor even remotely insinuate, that he must kill to make it come true.  And yet the insinuation on his part is clearly there from the beginning.  In Macbeth's mind the acquisition of the crown is synonymous with murder. They are inextricably bound.  And this alone explains his response to the prophecy. And when he is announced as Thane of Cawdor the vision of murder is so clear and persistent that is overwhelms all other thoughts.