“It’s about two people who suddenly see each other in a new light, with more compassion and less judgment than before.” “It’s a great show for Christmas fans and Scrooges alike,” she said.
Brandford-Altsher trained at NYU’s Tisch School of the Arts, while Polgar – a Philly native presently living in Jersey City – first trained with Penn and Jared Reed at The Hedgerow Theatre in Rose Valley, PA, and is currently a student of George Gallagher and the Harold Guskin approach.īrandford-Altsher, who has performed in shows such as “Footloose,” “A Chorus Line” and “Peter and the Wolf,” finds “Magic Flowers” to be “funny and touching.” “But in true Christmas fashion, a miracle occurs, which ultimately brings about a happy ending.”īoth Brandford-Altsher and Polgar have been acting for more than a decade. “’Magic Flowers’ is short and sweet comedic love story that takes place at Christmas, which can be a very lonely time of year for many people,” Sterritt said. Unlike all of the other women in their office, Ethel is not at all enamored with handsome Ralph – at least, that was the case before she bought the mysterious magic flowers.
Once home, Ethel’s suave and good-looking coworker Ralph Adams, portrayed by Dave Polgar, unexpectedly stops by. On the way home Ethel, played by Evie Brandford-Altsher, is approached by a homeless man (a brief cameo by Sterritt) who sells her some “magic” flowers that, he claims, are sure to bring her love. It revolves around Ethel Pahoni, a plain and lonely advertising copywriter who is prepared to spend another Christmas Eve alone with just a bottle of cheap Burgundy to curl up with. “Magic Flowers” is a story about holiday magic, love and moving beyond stereotypes to see someone’s true self. Instead, his "French English" contributes an example along the continuum of English, both then and now.- Love story with a message runs for three weekends between Thanksgiving and Christmas –Ĭape May’s award-winning playwright Bill Sterritt brings his holiday-themed play “Magic Flowers” to his Somers Point performance space – Studio Space – for four weekends beginning on Friday, Nov. If 'Hamlet' is a translational act, then Shakespeare’s "Englishness" can be somewhat decentralised. Furthermore, the Renaissance printing industry is testament to the ways in which dialectical aspects of English were not limited to Shakespeare’s work. English worked – and perhaps still works – as a language between languages “based on a system of double derivation…at once Germanic and Romance” (George Watson, ‘Shakespeare and the Norman Conquest’, 617). In light of Ardis Butterfield’s extensive work on Chaucer’s multiple vernaculars, this paper conceptualises Shakespeare’s English as a French dialect of the language.
Only a hundred or so years earlier, Anglo-Norman was still a widely-spoken dialect on English soil. Putting aside any questions about an ‘ur-Hamlet’, the Shakespearean "translation" of this tale exists in multiple iterations that appear to respond to a second francophone source: the 'Essais' of Michel de Montaigne.
This is most likely to have reached Shakespeare via a French translation of a Latin collection of tales by a Danish academic: 'Les Histoires Tragiques' by François de Belleforest. Beneath the question of this play’s three texts and their chronology is a question of origin, which is made more interesting in light of the play’s narrative source, the Amleth myth. This paper considers Shakespeare’s use of non-Anglophone sources and dialect within 'Hamlet'. Presented as part of 'Playing With Source Materials: Alterations and Shakespeare's Creative Fabric' at the NeMLA 'Global Spaces, Local Landscapes, and Imagined Worlds' conference, Omni William Penn Hotel, Pittsburgh, PA, April 12, 2018. Please contact me if you wish to read any of this work directly.
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