Ira Glass has a new one man stage show and is currently touring the US (next stop UCLA). (Check out wikipedia if you don't know who he is: http://en.wikipedia.org/wiki/Ira_glass According to the review posted below he is ending his show with a nod to the Nights which I find interesting and which gets to some core element that I think is inherent in the Nights' everlasting ability to intrigue (its loose form and frame story).
I'm always skeptical but also amused to hear why people think Shahriar doesn't kill her and what he learns from the storytelling experience but, given the nebulous nature of the Nights, the answer is provocatively elusive.
link to review from his Kansas performance article: http://blogs.pitch.com/plog/2010/02/ira_glass_at_the_lied_center_review.php
from the article:
"But Glass ended with a yarn that wasn't his own.
With the quintessential This American Life-style music swelling behind him, the radio host told a rendition of the Arabian Nights, the story of a woman who is spared by a murderous king for 1,001 nights because she keeps her captor wrapped up in the suspense of the stories she tells. "So remember what I'm telling you today, because these are tools that can save your life," Glass joked.
There was a serious lesson in Arabian Nights, too. Because of the woman's stories, Glass said, the king learned empathy. He ultimately spared the woman's life.
"Narrative is a back door to a really deep place in us," Glass said. "A place where reason doesn't necessarily hold sway. All of us in the room tonight live in a very unusual cultural moment where we're bombarded by stories like no other people who have ever lived. ... It's not just that we see actors everyday. Everything is a story. The NFL is a story and every story on the Internet is a story. Every ad is a story, every song is a story, and just, like, every little thing, all day long, is a story coming at us. I don't know about you, but it's rare for a story to feel like it's possible that that story could be me; that that's what it would be like to be that person. When that happens, you definitely notice because it's so unusual. And I don't know if it's important to make stories that have that power, but it's important to me. Like, when it happens, I feel more sane."
Ira Glass at the Lied Center review
By Carolyn Szczepanski in Entertainment, Media, Out & About
Mon., Feb. 22 2010 @ 11:00AM
The Pitch Kansas City
Showing posts with label events. Show all posts
Showing posts with label events. Show all posts
Friday, February 26, 2010
Wednesday, January 20, 2010
ulysses and the 1001 nights
I'm presenting a sort of preliminary paper at the upcoming Joyce Conference at UC Irvine and the topic is the relationship between James Joyce's Ulysses and the 1001 Nights.
I say preliminary because thankfully that is the format of the conference as everyone will be presenting a 5 page argument abbreviated paper instead of a fully developed one and thankfully because my argument isn't as developed as I intend it to be.
What I'm suggesting in this paper is that previous scholarship on both the Nights side and the Joyce side fail to fully develop which specific version of the Nights Joyce used for inclusion in Ulysses. Aida Yared has an article which convincingly argues that Joyce had not read any version in particular before Finnegans Wake and that Joyce uses extensively from Burton's specific version in the Wake.
The primary function of the Nights in Ulysses seems to be as part of the English/Irish pantomime and not of any textual version.
Once you begin looking at the specific version of the Nights Joyce uses you can begin to uncover the ways in which he uses the Nights in Ulysses.
In any case, I think most scholarship on Joyce and the Nights apart from Yared's article just mentions the 1001 Nights in a general sense and that they influenced Joyce but not to what extent nor which specific versions of the Nights and in what ways.
For whatever that's worth it's sort of the direction this paper is heading. It'll be my first conference paper too.
- M
I say preliminary because thankfully that is the format of the conference as everyone will be presenting a 5 page argument abbreviated paper instead of a fully developed one and thankfully because my argument isn't as developed as I intend it to be.
What I'm suggesting in this paper is that previous scholarship on both the Nights side and the Joyce side fail to fully develop which specific version of the Nights Joyce used for inclusion in Ulysses. Aida Yared has an article which convincingly argues that Joyce had not read any version in particular before Finnegans Wake and that Joyce uses extensively from Burton's specific version in the Wake.
The primary function of the Nights in Ulysses seems to be as part of the English/Irish pantomime and not of any textual version.
Once you begin looking at the specific version of the Nights Joyce uses you can begin to uncover the ways in which he uses the Nights in Ulysses.
In any case, I think most scholarship on Joyce and the Nights apart from Yared's article just mentions the 1001 Nights in a general sense and that they influenced Joyce but not to what extent nor which specific versions of the Nights and in what ways.
For whatever that's worth it's sort of the direction this paper is heading. It'll be my first conference paper too.
- M
Thursday, February 26, 2009
This Week: Jason Grote's 1001 at UCSD
1001
Directed by Kim Rubinstein
tickets and more information at:
http://theatre.ucsd.edu/season/1001/
A potent, passionate, funny, kaleidoscopic re-imagining of the classic Arabian Nights. Nationally celebrated playwright Jason Grote's politically charged theatrical maze explores current Middle Eastern tensions as it shifts back and forth and through mythic Arabia and modern-day New York City.
About the author:
Jason Grote's plays include 1001 (Denver Center world premiere, Page 73, Theater @ Boston Court, Contemporary American Theater Festival, Mixed Blood), Box Americana, Darwin's Challenge, Hamilton Township (Salvage Vanguard Theater world premiere; upcoming, Soho Rep), Maria/Stuart (Woolly Mammoth Theater world premiere; upcoming, Theater Schmeater), and This Storm Is What We Call Progress (Rorschach Theater world premiere). He is currently working on the screenplay for What We Got: DJ Spooky's Quest for the Commons and co-hosting The Acousmatic Radio Theater Hour on WFMU (91.1FM in NY/NJ, around the world at wfmu.org).
He has been published by Samuel French, Playscripts Inc., and in The Back Stage Book of New American Short Plays 2005 (edited by Craig Lucas), and his draft manuscripts are archived at the Lincoln Center/Billy Rose branch of the NYPL. He has received commissions from ACT (Seattle), Clubbed Thumb, The Denver Center, Ensemble Studio Theater, The Keen Company, and The Working Theater. Honors include an Ovation Award from The Denver Post; the P73 Fellowship; nominations for The Pushcart Prize, The Kesselring Prize, and The Weissberger Award; and "Best New Play" (for 1001) from Denver's alternative weekly, Westword. 1001 was also included in critics' year-end top ten lists in Time Out New York, The Rocky Mountain News, and The Boulder Daily Camera, and nominated for "Best Production of 2008" by L.A. Weekly. He is a member of PEN, New Dramatists, and Soho Rep's Artist Advisory Committee, and a contributor to Comedy Central's "Indecision 2008" blog. Visit him at jasongrote.com.
About the Director:
Prior to UCSD, Kim Rubinstein was the Associate Artistic Director of the Long Wharf Theatre where she directed Guys and Dolls, A Midsummer Night’s Dream, Private Lives, Santaland Diaries and The Cocktail Hour. Other recent directing credits include The American Plan for The Old Globe, The Intelligent Design of Jenny Chow for Portland Center Stage and San Jose Repertory Theatre, and Much Ado About Nothing and Romeo and Juliet for Shakespeare Santa Cruz. Some other directing credits: Romeo and Juliet, MacBeth and Julius Caesar (Chicago Shakespeare Theatre), The American Plan and Eloise and Ray (Roadworks Productions), Pan and Boone (Running With Scissors), Love’s Labour’s Lost (Next Theatre), Not I, (Bucket O’Beckett Festival), Act without Words I, Not I, Play, Come and Go, Baby With the Bathwater and Sarita (Berkshire Theatre Festival). Here at UCSD she directed Balm in Gilead and 1001. Kim was the Associate and Tour Director of the national tour of Angels in America.
Her other teaching credits include ten years on the acting faculty at Northwestern University, Brown/Trinity Consortium, Wesleyan University, University of Chicago, Eugene O’Neill Theatre Center, Teatro degli Stracci, and an ongoing gig with the professional School at Steppenwolf.
Ms. Rubinstein is a recipient of the TCG/NEA directing fellowship and was nominated for the Alan Schneider Directing Award, among other directing and teaching awards. Active in the development of new plays, she has done readings and workshops at places like New Dramatists and the Long Wharf.
cast:
Rebecca Lawrence – A
Anne Stella – B
Hugo Medina – C
Zoe Chao – D
Daniel Rubiano – E
Adam Arian – F
Naqiya Ebrahim – Dancer
Justin Gines – Dancer
creative:
Director - Kim Rubinstein
Production Stage Manager - Deirdre Rose Holland
Scenic Designer - Rob Tintoc
Costume Designer - Allison Crutchfield
Lighting Designer - Stephen Siercks
Sound Designer - Toby Jaguar Algya
Choreographer - Rebecca Salzar
Asst Director - Jeffrey Wienckowski
Asst Stage Manager - Cate O’Brien
Asst Scenic Designer - Max Lee
Asst Costume Designer - Shamira Turner
Asst Lighting Designer - Sarah Kranz
Dramaturg - Rana Salimi-Ghezelbash
Voice & Dialect Coach - Eva Barnes
Production Assistant - Tiffany Fontaine
performances:
Thu, Feb. 26 at 7:00pm PREVIEW
Fri, Feb. 27, 8:00 pm OPENING
Sat, Feb 28, 8:00 pm
Wed, Mar 4, 8:00 pm
Thu, Mar 5, 8:00 pm
Fri, Mar 6, 8:00 pm
Sat, Mar 7, 2:00 pm MATINEE
Sat, Mar 7, 8:00 pm CLOSING
Located at:Mandell Weiss Forum STUDIO
Limited Seating and No Late Seating
Parking Passes Required: Monday through Friday. Weeknight passes are $2 per vehicle from the vending machines located in the UC San Diego Theatre District/La Jolla Playhouse parking lots and entry display case. Please remember your parking space number. You will need it to purchase your parking pass.
Note: Machines take all major credit cards except Discover and when paying with cash you must use exact change, NO CHANGE GIVEN.
Parking Passes Not Required: Saturdays and Sundays
http://theatre.ucsd.edu/places/parking.html
Cars without permits are subject to ticketing by UCSD Campus Police. The Theatre & Dance Department does not have the authority to waive and cannot pay parking tickets.
General Admission: $20
UCSD Faculty/Staff and Seniors (over 62): $12
UCSD Students/UCSD Alumni Association (with ID): $10
*Preview performance on Thursday, Feb. 26th at 7:00pm is offered at the reduced ticket prices of $15/$10/$8
Advance tickets for this production are available Monday-Friday, noon to 6 pm by calling the Box Office at 858.534.4574 or in person at the Theatre District’s Central Box Office at the Sheila & Hughes Potiker Theatre.
At-the-Door tickets, if available, can be purchased one hour before show time at the performing theatre’s box office at Mandell Weiss Forum STUDIO
Directed by Kim Rubinstein
tickets and more information at:
http://theatre.ucsd.edu/season/1001/
A potent, passionate, funny, kaleidoscopic re-imagining of the classic Arabian Nights. Nationally celebrated playwright Jason Grote's politically charged theatrical maze explores current Middle Eastern tensions as it shifts back and forth and through mythic Arabia and modern-day New York City.
About the author:
Jason Grote's plays include 1001 (Denver Center world premiere, Page 73, Theater @ Boston Court, Contemporary American Theater Festival, Mixed Blood), Box Americana, Darwin's Challenge, Hamilton Township (Salvage Vanguard Theater world premiere; upcoming, Soho Rep), Maria/Stuart (Woolly Mammoth Theater world premiere; upcoming, Theater Schmeater), and This Storm Is What We Call Progress (Rorschach Theater world premiere). He is currently working on the screenplay for What We Got: DJ Spooky's Quest for the Commons and co-hosting The Acousmatic Radio Theater Hour on WFMU (91.1FM in NY/NJ, around the world at wfmu.org).
He has been published by Samuel French, Playscripts Inc., and in The Back Stage Book of New American Short Plays 2005 (edited by Craig Lucas), and his draft manuscripts are archived at the Lincoln Center/Billy Rose branch of the NYPL. He has received commissions from ACT (Seattle), Clubbed Thumb, The Denver Center, Ensemble Studio Theater, The Keen Company, and The Working Theater. Honors include an Ovation Award from The Denver Post; the P73 Fellowship; nominations for The Pushcart Prize, The Kesselring Prize, and The Weissberger Award; and "Best New Play" (for 1001) from Denver's alternative weekly, Westword. 1001 was also included in critics' year-end top ten lists in Time Out New York, The Rocky Mountain News, and The Boulder Daily Camera, and nominated for "Best Production of 2008" by L.A. Weekly. He is a member of PEN, New Dramatists, and Soho Rep's Artist Advisory Committee, and a contributor to Comedy Central's "Indecision 2008" blog. Visit him at jasongrote.com.
About the Director:
Prior to UCSD, Kim Rubinstein was the Associate Artistic Director of the Long Wharf Theatre where she directed Guys and Dolls, A Midsummer Night’s Dream, Private Lives, Santaland Diaries and The Cocktail Hour. Other recent directing credits include The American Plan for The Old Globe, The Intelligent Design of Jenny Chow for Portland Center Stage and San Jose Repertory Theatre, and Much Ado About Nothing and Romeo and Juliet for Shakespeare Santa Cruz. Some other directing credits: Romeo and Juliet, MacBeth and Julius Caesar (Chicago Shakespeare Theatre), The American Plan and Eloise and Ray (Roadworks Productions), Pan and Boone (Running With Scissors), Love’s Labour’s Lost (Next Theatre), Not I, (Bucket O’Beckett Festival), Act without Words I, Not I, Play, Come and Go, Baby With the Bathwater and Sarita (Berkshire Theatre Festival). Here at UCSD she directed Balm in Gilead and 1001. Kim was the Associate and Tour Director of the national tour of Angels in America.
Her other teaching credits include ten years on the acting faculty at Northwestern University, Brown/Trinity Consortium, Wesleyan University, University of Chicago, Eugene O’Neill Theatre Center, Teatro degli Stracci, and an ongoing gig with the professional School at Steppenwolf.
Ms. Rubinstein is a recipient of the TCG/NEA directing fellowship and was nominated for the Alan Schneider Directing Award, among other directing and teaching awards. Active in the development of new plays, she has done readings and workshops at places like New Dramatists and the Long Wharf.
cast:
Rebecca Lawrence – A
Anne Stella – B
Hugo Medina – C
Zoe Chao – D
Daniel Rubiano – E
Adam Arian – F
Naqiya Ebrahim – Dancer
Justin Gines – Dancer
creative:
Director - Kim Rubinstein
Production Stage Manager - Deirdre Rose Holland
Scenic Designer - Rob Tintoc
Costume Designer - Allison Crutchfield
Lighting Designer - Stephen Siercks
Sound Designer - Toby Jaguar Algya
Choreographer - Rebecca Salzar
Asst Director - Jeffrey Wienckowski
Asst Stage Manager - Cate O’Brien
Asst Scenic Designer - Max Lee
Asst Costume Designer - Shamira Turner
Asst Lighting Designer - Sarah Kranz
Dramaturg - Rana Salimi-Ghezelbash
Voice & Dialect Coach - Eva Barnes
Production Assistant - Tiffany Fontaine
performances:
Thu, Feb. 26 at 7:00pm PREVIEW
Fri, Feb. 27, 8:00 pm OPENING
Sat, Feb 28, 8:00 pm
Wed, Mar 4, 8:00 pm
Thu, Mar 5, 8:00 pm
Fri, Mar 6, 8:00 pm
Sat, Mar 7, 2:00 pm MATINEE
Sat, Mar 7, 8:00 pm CLOSING
Located at:Mandell Weiss Forum STUDIO
Limited Seating and No Late Seating
Parking Passes Required: Monday through Friday. Weeknight passes are $2 per vehicle from the vending machines located in the UC San Diego Theatre District/La Jolla Playhouse parking lots and entry display case. Please remember your parking space number. You will need it to purchase your parking pass.
Note: Machines take all major credit cards except Discover and when paying with cash you must use exact change, NO CHANGE GIVEN.
Parking Passes Not Required: Saturdays and Sundays
http://theatre.ucsd.edu/places/parking.html
Cars without permits are subject to ticketing by UCSD Campus Police. The Theatre & Dance Department does not have the authority to waive and cannot pay parking tickets.
General Admission: $20
UCSD Faculty/Staff and Seniors (over 62): $12
UCSD Students/UCSD Alumni Association (with ID): $10
*Preview performance on Thursday, Feb. 26th at 7:00pm is offered at the reduced ticket prices of $15/$10/$8
Advance tickets for this production are available Monday-Friday, noon to 6 pm by calling the Box Office at 858.534.4574 or in person at the Theatre District’s Central Box Office at the Sheila & Hughes Potiker Theatre.
At-the-Door tickets, if available, can be purchased one hour before show time at the performing theatre’s box office at Mandell Weiss Forum STUDIO
Tuesday, February 24, 2009
Riverside County Fair and National Date Festival 2009
This fair is held annually in Indio, CA and showcases the Coachella Valley's agricultural production with its date crop as the fair's highlight (perhaps in name only as there are few (though the ones they do have are quite interesting) date-related exhibits). They also have the area's famous date milkshakes which are super sweet and very tasty.
If you didn't know the area is known for its date (as in date tree) production with original tree lineages from Iraq and the Middle East. There is even a city/"census-designated place" called Mecca, California! One of the more prominant farms has a video show about the area's history and several date dessert packages and date shakes.
The fair's theme since its start in 1947 has been the 1001 Nights (aka Arabian Nights) and each year they present a live story from the collection and crown a local teen "Queen Scheherazade" along with Princess Dunyazade and a Princess Jasmine. They also have daily camel races.
This year's (2009) festival's play was "Ali Baba and the Den of Thieves" which was quite interesting to see performed in the rural arena of Indio (we may have been some of the only out-of-towners who travelled to the fair). The play incorporated several pop songs (ABBA, the Smiths, even the Turkish song "Kiss Kiss") which gave it a contemporary/ironic feel ala Moulin Rouge (the film). The production and music was quite good although several scenes felt a bit high-schooly and the microphones failed a couple of times.
The story began with the frame story of the Nights, fairly faithful and replete with the wife's infidelity and Shahriyar's subsequent beheadings (although no mention of who the original wife was unfaithful with).
The story of Ali Baba was a basic morality tale of the power of greed, money and evil vs. the power of love, with love winning in the end. In these economic times it felt appropriate.
Overall ok, a bit long at an hour and 20 mins or so. Will take some convincing to get the family to return next year I fear. We missed the show's opening prologue "A Tribute to the Troops" unfortunately.
Here are some pictures (click on them for full picture):
If you didn't know the area is known for its date (as in date tree) production with original tree lineages from Iraq and the Middle East. There is even a city/"census-designated place" called Mecca, California! One of the more prominant farms has a video show about the area's history and several date dessert packages and date shakes.
The fair's theme since its start in 1947 has been the 1001 Nights (aka Arabian Nights) and each year they present a live story from the collection and crown a local teen "Queen Scheherazade" along with Princess Dunyazade and a Princess Jasmine. They also have daily camel races.
This year's (2009) festival's play was "Ali Baba and the Den of Thieves" which was quite interesting to see performed in the rural arena of Indio (we may have been some of the only out-of-towners who travelled to the fair). The play incorporated several pop songs (ABBA, the Smiths, even the Turkish song "Kiss Kiss") which gave it a contemporary/ironic feel ala Moulin Rouge (the film). The production and music was quite good although several scenes felt a bit high-schooly and the microphones failed a couple of times.
The story began with the frame story of the Nights, fairly faithful and replete with the wife's infidelity and Shahriyar's subsequent beheadings (although no mention of who the original wife was unfaithful with).
The story of Ali Baba was a basic morality tale of the power of greed, money and evil vs. the power of love, with love winning in the end. In these economic times it felt appropriate.
Overall ok, a bit long at an hour and 20 mins or so. Will take some convincing to get the family to return next year I fear. We missed the show's opening prologue "A Tribute to the Troops" unfortunately.
Here are some pictures (click on them for full picture):
Sunday, February 15, 2009
2009 Riverside County Date Festival - Indio
The Date Festival is up and running in Indio, CA until Feb 22.
If you haven't been, you must give it a visit if only to see contemporary re-imaginings of American pop Orientalism at its finest, including a daily Arabian Nights show, date ice cream shakes and camel races.
I'll try and get over there next weekend and post some pictures.
Here is an article (also I pasted it below) from the Desert News about opening day:
http://www.mydesert.com/article/20090215/EVENTS06/902150333
Information about the festival:
Food, Fun and Entertainment
What: Riverside County Fair and National Date Festival
When: Continuing today until Feb. 22
Hours: 10 a.m to 10 p.m. On weekends the carnival is open until midnight.
Where: Riverside County Fairgrounds, 82-503 Highway 111, Indio
Cost: $8 general admission, $7 for seniors age 55 and older, and $6 for children ages 5 to 12. Children younger than 5 admitted free.
Parking: $7
Information: www.datefest.org or 800-811-3247
Arabian Nights celebrates music, dance, costumes
Aldrich M. Tan • The Desert Sun • February 15, 2009
When the sun goes down, the spotlight rises on the mid-sized Arabian Nights set for the Riverside County Fair and National Date Festival.
For months, the set remained unused on the empty fairgrounds in Indio.
But during the fair, the stage comes alive with a nightly pageant full of music, dance, and shimmering costumes.
The Arabian Nights-themed musical is at 6:15 p.m. nightly and free with fair admission.
It is a major part of the festival's tradition, said Richard De Haven, one of the show's producers.
“It is one the oldest shows in the valley,” De Haven said.
Each year's show focuses on a different tale from “One Thousand and One Nights,” De Haven said.
This year's tale is “Ali Baba and the Den of Thieves.”
The pageant organizers installed a large cave on the stage that contains at least 100 shimmering lights specifically for the performance, De Haven said.
Auditions for the show took place in October, De Haven said. The rehearsals started on weekends in January.
The performance starts with an American salute to honor the military, De Haven said.
On opening night, the 158th Battalion of California Cadet Corps from Indio High School presented the colors.
“This is good for my students,” Battalion Lt. Ed Ogimachi said. “All my students are very patriotic and this is to show they are proud of their school.”
Leroy Vesper, 73, stood up and saluted as the U.S. Air Force anthem was played on stage.
Vesper, a winter resident of Palm Desert, said he served in the Air Force for 40 years.
“I was pleasantly surprised,” he said. “This was wonderful.”
The pageant begins following an introduction by Queen Scheherazade Madi DiPietro, Princess Jasmine Amariz Mendoza, and Princess Dunyazade Stacy Jones.
The Ali Baba tale has been modified from the original to be less violent, De Haven said.
If you haven't been, you must give it a visit if only to see contemporary re-imaginings of American pop Orientalism at its finest, including a daily Arabian Nights show, date ice cream shakes and camel races.
I'll try and get over there next weekend and post some pictures.
Here is an article (also I pasted it below) from the Desert News about opening day:
http://www.mydesert.com/article/20090215/EVENTS06/902150333
Information about the festival:
Food, Fun and Entertainment
What: Riverside County Fair and National Date Festival
When: Continuing today until Feb. 22
Hours: 10 a.m to 10 p.m. On weekends the carnival is open until midnight.
Where: Riverside County Fairgrounds, 82-503 Highway 111, Indio
Cost: $8 general admission, $7 for seniors age 55 and older, and $6 for children ages 5 to 12. Children younger than 5 admitted free.
Parking: $7
Information: www.datefest.org or 800-811-3247
Arabian Nights celebrates music, dance, costumes
Aldrich M. Tan • The Desert Sun • February 15, 2009
When the sun goes down, the spotlight rises on the mid-sized Arabian Nights set for the Riverside County Fair and National Date Festival.
For months, the set remained unused on the empty fairgrounds in Indio.
But during the fair, the stage comes alive with a nightly pageant full of music, dance, and shimmering costumes.
The Arabian Nights-themed musical is at 6:15 p.m. nightly and free with fair admission.
It is a major part of the festival's tradition, said Richard De Haven, one of the show's producers.
“It is one the oldest shows in the valley,” De Haven said.
Each year's show focuses on a different tale from “One Thousand and One Nights,” De Haven said.
This year's tale is “Ali Baba and the Den of Thieves.”
The pageant organizers installed a large cave on the stage that contains at least 100 shimmering lights specifically for the performance, De Haven said.
Auditions for the show took place in October, De Haven said. The rehearsals started on weekends in January.
The performance starts with an American salute to honor the military, De Haven said.
On opening night, the 158th Battalion of California Cadet Corps from Indio High School presented the colors.
“This is good for my students,” Battalion Lt. Ed Ogimachi said. “All my students are very patriotic and this is to show they are proud of their school.”
Leroy Vesper, 73, stood up and saluted as the U.S. Air Force anthem was played on stage.
Vesper, a winter resident of Palm Desert, said he served in the Air Force for 40 years.
“I was pleasantly surprised,” he said. “This was wonderful.”
The pageant begins following an introduction by Queen Scheherazade Madi DiPietro, Princess Jasmine Amariz Mendoza, and Princess Dunyazade Stacy Jones.
The Ali Baba tale has been modified from the original to be less violent, De Haven said.
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