See the full text of Bonny Doon Vineyard’s “The Vinferno.”
Also cited at Mae’s Cafe and Bakery in Bath, Maine by Anna Schember (Bowdoin, ’12).
“The Bright River is a hip-hop retelling of Dante’s Inferno by a traditional storyteller, Tim Barsky, with a live soundtrack performed by some of the best hip-hop and klezmer musicians in the Bay Area. A dizzying theatrical journey through a world spinning helplessly out of control, the show sends audiences on a mass-transit tour of the Afterlife. Guided by a fixer named Quick, and moving through an urban landscape that is at once both intensely real and fantastic, the show is a deep-rooted love story, a profound meditation on mass transit, and a passionate commentary on the current war in Iraq.” [. . .] —Everyday Theater
See Everyday Theater to learn more, watch video clips, and read reviews.
“Dante’s Inferno Documented, now in final stages of post-production, started filming in Italy (Rome, Florence and Bellagio) in February, 2008 and continued in Los Angeles, United States in March, August, December 2008, January 2009 (including its narration) and finished additional filming in February of 2009…
Dante’s Inferno Documented is an introduction to Dante Alighieri’s journey through the first part of the afterlife, Inferno. It is a four-quadrant compelling film organized circle by circle and presented in an unprecedented and unique way that no other documentary has done up until now. Dante’s Inferno Documented is a visual and narrative journey to Hell told by over 30 scholars and artists who were interviewed on Dante’s Inferno, in both Italy and the United States. It features over 50 black and white illustrations by Gustave Dore, over 50 original color illustrations from the upcoming Dante’s Inferno comic book and magazine series and a few dramatic animations from the upcoming animation short film.” [. . .] —Dante’s Inferno Documented
“The Soloist is a buddy movie with none of the usual grace notes of the genre, and the backdrop–a skid row seemingly conjured by Dante where legions of homeless lead a feral existence –is part of a Los Angeles few ever see. In his films Mr. Wright has displayed a remarkable visual facility, and The Soloist is no exception. Instead of hills and canyons, the city is rendered in soaring concrete, brutal poverty, scary dark nights and hard sunlight.” [. . .] –David Carr, The New York Times, April 15, 2009