Upper Middlebrow

The boys hop to it, chum, and talk about Dashiell Hammett's 1929 debut novel Red Harvest. While the socialist connotations of the title never truly materialize ("Communism was a red herring"), leaving the lads scratching their heads, Hammett definitely crafted a new sound and a new genre. Jesse and Chris find the jaunty dialogue compelling, but both speculate as to why audiences of this period seemed to just love lots and lots and lots of plot.

Dukes and Bagg were both a little disappointed with how LONG the second half of The Long Goodbye is, with a rather Byzantine and confusing series of plot machinations that only slightly support the ending. But, as Bagg says, “the craft creeps in” as Chandler continues to write lyrical and insightful passages. Dukes enjoyed the ending, which feels coherent and profound. And even though Marlowe refers to “A Thousand Crimes”, (and describes many of them), we struggle to articulate THE crime that drives this particular story. 

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The lads kick off this series of Chris' called "Relativistic Noir" with Raymond Chandler's remarkable 1959 The Long Goodbye. Both Chris and Jesse are rendered somewhat slack-jawed at the sheer audacity—and skill—of the prose and of Chandler's ability to build a world so stylized while still remaining plausible. They wonder, though, if maybe there aren't just a few too many similar cops, and couldn't this have used maybe one more editorial pass? The plot is, at points, as ponderous as the sentences are lively.

Gary Shteyngart’s overtly Chekhovian novel ends in a distinctly non–Chekhovian manner, with hope. However, the hope is dearly earned, as one of the country friends sadly does not survive the second half of the book. The lads wonder if Act Four is a bit padded, and sort out the layers of satire in which Shteyngart wraps what is at heart, a tender story of love, friendship, and forgiveness.

With a small but loyal Zoom audience, Dukes and Bagg propose TWELVE new series, and pick five, including a LISTENER'S CHOICE series. Throughout, they kibbitz, lobby, and respond to chatted questions from the audience. (For people who don't like drama, you can find the list of future works here.)

Also, be sure to check out the lads' guest appearance on Big Campaign Stories.

Gary Schteyngart’s 2021 pandemic novel is overtly Chekhovian, and the lads love it. A group of friends and family gather in the Hudson valley during the 2020 pandemic leading to betrayals, love triangles, secrets, lies, but also some joy and camaraderie. We discuss how Schteyngart’s precise portrayal of his characters’ inner lives, and marvel at moments of satirically brilliant prose.

Bagg and Dukes watch Louis Malle's wild 1994 film that takes, as its subject, a rehearsal of Andre Gregory's..."performance" of Anton Chekhov's Uncle Vanya. If that sounds convoluted, it is. Gregory and an amazing cast (Julianne Moore, Wallace Shawn, Larry Pine and more) rehearsed the play in a dilapidated theater, inviting a few guests each night to watch what they were working on. Malle's film shoots an entire performance/rehearsal, nesting the theatrical performance in his own film. Yikes.

Anton Chekhov's 1897 play is in many ways even more minimalistic and sad than The Cherry Orchard. Dukes once again struggles to imagine the three dimensions of the story, while recognizing the almost documentary realism of the drama. Bagg finds the pathos of characters struggling for transcendence in the wrong direction heartbreakingly real.

UMB Theater presents Dr. Dukesimov and his old friend Baggya, commiserating about dreary life, and looking forward to the Upper Middlebrow LIVE Draft. That's coming October 10th, at 5pm PDT, and there will be door prizes and a chance to vote on a new Upper Middlebrow series. Watch this space!

The National Theatre production glimmers with an excellent cast, including Zoe Wanamaker and Conleth Hill. Dukes finds that the performances and the direction/translation choices help raise the stakes and steepen the conflict. He wonders if there’s a kind of “oral history” or collective theatrical knowledge of Chekhov that aids live productions, and Bagg suggests that Chekhov’s genius lies in creating a scaffold which great directors and actors flesh out (while acknowledging that having an oral history of prior productions helps A LOT).