From Richard III:
O, that thou wouldst as well afford a grave
As thou canst yield a melancholy seat!
Then would I hide my bones, not rest them here.
Shift around the letters, and it becomes:
To unearth late Richard the Third’s gamy bones would teach us, seem to alienate the vastly-followed myth.
No halo was found.
This is the 17th in a series of pop-music parodies for Shakespeare fans.
Enjoy!
Lady, It’s Warm Outside
sung to the tune of “Baby, It’s Cold Outside”(With apologies to Cee-Lo Green, Christina Aguilera, and the many artists who have performed this seasonal classic duet…)
You venomous toad
Lady, it’s warm outside
Hey, just hit the road
Metaphorically warm outside
I’ve been left to lament
The winter of discontent
And I’m concerned
To glorious summer has turned
You’re a pitiless beast
Beautiful, that’s something at least
Give me leave to curse thyself
I feel even worse myself
And now I accuse thyself
Beautiful, I can’t excuse myself
May lightning strike you dead
These compliments will go to my head
My husband has died
Lady, not by my hand
But your regicide
That was not what I planned
You should be locked in a fetter
I know one place better
As I have said
It is beside you in your bed
I ought to say no, no, no, sir
Mind if I move in closer
Cursed be your future wife
Lady, I want it to be you in my life
I really can’t stay
Now, Lady, don’t storm out
‘Cause it’s warm outside
Now this king is dead
Your beauty gave me pause
And you killed my Ed
Your beauty was the cause
If I thought that
It really knocks me flat
My nails would rend
Don’t even start to pretend
My sister will disown me
Lady, have you ever really known me
My father will spin in his grave
In life, he was far more brave
It will dishonor my husband’s life
A better husband for his wife
I really don’t know what to say
You’ve nowhere else to go anyway
You deserve your reward
Lady, if you think it best
Say, lend me your sword
Drive it right through my chest
It’s not in me to kill
Say the word and I will
I have already said
In your rage, but now you have a clearer head
I wish I knew your heart
I will inter this king
You lied to me right from the start
Vouchsafe to wear this ring
I’m glad you have repented
I’m glad you have relented
‘Cause it’s warm outside
Over at Pursued by a Bear, Cassius put together a series of videos lauding Shakespeare’s Most Underrated Characters back while I was on hiatus. They’re definitely worth checking out. Even when you disagree with one of her choices, she makes a compelling case.
Still, she includes such “underrated characters” as Hamlet and Othello. And while I totally get that a character can be highly rated and yet underrated, a list like this is an opportunity to bench the starters and let the minor characters show their stuff. Basically, what I’m saying is, I want to play too. Now that I’m back, here is my list, with a hat tip to Cassius for the idea.
An old theatre maxim says there are no small parts, but below you’ll find some really outstanding exceptions. Some of them don’t even have names. If your reaction to seeing some of these is “Wait… who?” then I’ve done my job. But don’t dismiss them just yet; they’re on this list for a reason. Let’s start the countdown at 50.
50. Costard (Love’s Labour’s Lost) – With so many foolish characters in one play, it’s easy to overlook the actual clown. But Costard spins some impressively deft wordplay that puts more erudite characters to shame.
49. Pinch (The Comedy of Errors) – Just as things get about as silly as you think they could get, enter good Doctor Pinch. While others suspect Antipholus of mere madness, Pinch tries to exorcize Satan from within him.
48. Fluellen (Henry V) – The Welsh captain may speak his bombast with a funny accent, but he’s not a man to be trifled with. He bravely leads his troops into battle, and handles himself ably in private matters as well.
47. The Scottish Doctor (Macbeth) – A doctor is brought in to cure Lady Macbeth’s madness. Sadly, modern psychiatric practice would be far beyond the reach of Shakespeare’s England, let alone Macbeth’s Scotland.
46. Peter Quince (A Midsummer Night’s Dream) – It can’t be easy to construct a troupe of actors from weavers and tailors, but this is one carpenter who is up to the task. Ah, the joys of community theatre.
45. Antipholus of Ephesus (The Comedy of Errors) – The other three twins may have more stage time, but the funniest moments of the play come from the misfortunes that befall the local Antipholus.
44. Corin (As You Like It) – The old forest-dwelling shephard councils the younger love-struck Silvius, matches wits with Touchstone, and reminds us that courtly life isn’t better than the simple life, just different.
43. Antonio (Twelfth Night) – Sebastian’s savior and friend mentions that he happens to be a wanted criminal. But his love and loyalty prove to be powerful forces, as is his rhetoric when he thinks he’s been betrayed.
42. Paulina (The Winter’s Tale) – Hermione may have been the one to fake her death, but it’s Paulina who has to sell it. And sell it she does, without so much as flinching. Note to self: stay on Paulina’s good side.
41. Joan La Pucelle (1 Henry VI) – Joan of Arc, the peasant girl who led troops in winning great battles against the English, was a revered heroine among the French people. Of course, Shakespeare wasn’t French.
40. Oliver and Celia (As You Like It) – They seem like they’re going to be purely functional roles: Orlando’s evil brother and Rosalind’s supportive cousin. And then, boom, they meet and it’s love at first sight.
39. Chorus (Henry V) – The “muse of fire” prologue stands out, but the Chorus stays on the job throughout the play, adding vibrant imagery to expand the theatrical experience beyond the limitations of the stage.
38. Adam (As You Like It) – Rather than embody the bleak vision of Jacques’s last age of man, the spry Adam warns Orlando of the plot against him and faithfully agrees to serve him in exile. Eighty years young!
37. Pompey (Measure for Measure) – Not quite Pompey the Great, his bum is the greatest thing about him. Sent to prison, the former brothel bartender feels right at home among his old customers.
36. First and Second Lords (All’s Well That Ends Well) – This list has a soft spot for characters who aren’t even given names. The Lords are real characters that help advance the plot over multiple scenes. No respect!
35. Duke Senior (As You Like It) – A lesser man might be slightly annoyed by having his entire dukedom usurped. But Duke Senior takes “being a good sport” to a whole new level. And notice he’s not given a name either.
34. Charmian and Iras (Antony and Cleopatra) – When Cleopatra chooses to leave this world, she is flanked by her two most loyal servants – Iras just before and Charmian just after. Good help is hard to find.
33. Lord Stanley, Earl of Derby (Richard III) – Richard is so crazed with paranoia that when he accuses Stanley of betrayal, we completely believe the good earl’s denial. But wait… yeah, he went right to Richmond.
32. Archibald, Earl of Douglas (1 Henry IV) – “That sprightly Scot of Scots… that runs o’ horseback up a hill perpendicular” is outbattled by Hal, outwitted by Falstaff, and ultimately captured and released. Ah well.
31. Son and Father (3 Henry VI) – On the battlefield, Henry observes a son who has killed his father and a father who has killed his son. He thus realizes the heavy cost of the war, and his own responsibility for it.
30. The Thane of Ross (Macbeth) – Whether it’s victory in battle or the slaughter of your family, nobody delivers the news like the Thane of Ross, whatever his actual name may happen to be.
29. Roderigo (Othello) – Often overshadowed by the more dynamic characters in the play, Roderigo is a fantastic comic role. Hopelessly in love with Desdemona, Roderigo is an easy target for Iago’s machinations.
28. Iachimo (Cymbeline) – This “little Iago” deserves better than to be thought of as a diminutive derivative. But unlike his nefarious namesake, he never really meant any harm, and is honestly repentant at the end.
27. Lord (The Taming of the Shrew) – We remember Christopher Sly, but what of the Lord who devised the over-the-top prank in the first place. Actually, either one could make this list; they usually both get cut.
26. The Provost (Measure for Measure) – When the Duke realizes he can no longer implement his plan alone, he recruits the Provost, who proves to be an able accomplice. But why does he not have a name?
25. The Queen (Cymbeline) – She’s the classic fairy tale wicked step-mother, who even has the self-awareness to swear she isn’t. On her deathbed, she admits she never loved Cymbeline. It’s good to be the Queen.
24. The Earl of Suffolk (1 Henry VI) – He woos the young Margaret for the king, but has some grand designs of his own. “Margaret shall now be queen, and rule the king; But I will rule both her, the king, and realm.”
23. Casca (Julius Caesar) – Other characters consider him dull, blunt, and rude, but don’t take their word for it. I find Casca to be witty, wise, and shrewd. Read over his lines and decide for yourself.
22. Countess of Auvergne (1 Henry VI) – Talbot takes a break from invading France to be flattered by the noblewoman’s invitation to her house. It’s a trap, but she ends up having him over for Freedom Fries anyway.
21. Rumor (2 Henry IV) – Best. Prologue. Ever. The living embodiment of Rumor brags about the damage he’s done, while seamlessly bringing us up to speed on what’s happened since Part One. Open your ears.
20. Simpcox and Wife (2 Henry VI) – They are almost the definition of small Shakespearean roles. But their scene is genuinely laugh-out-loud funny. Go check it out!
19. Mariana (Measure for Measure) – She shows up late in the play, and even then she’s no more than a convenient plot device with very few lines of significance. But then the final scene arrives, and … wow.
18. The Bishop of Carlisle (Richard II) – Richard is defeated, and Henry would be King. Carlisle protests vigorously, describing exactly what will result. As Shakespeare and his audience know, he’s absolutely right.
17. Antonio (The Tempest) – I have to admit that some of the nobles from the boat tend to blend together for me, but Antonio, who usurped his brother Prospero, stands out as the most cold-blooded.
16. Moth (Love’s Labour’s Lost) – Compare Don Adriano de Armado and Moth with Zap Brannigan and Kif. Note that Kif’s first Futurama episode was entitled “Love’s Labour’s Lost in Space.”
15. Mistress Overdone (Measure for Measure) – She’s had nine husbands (“overdone by the last”) and this clear-eyed brothel owner still manages to run her business like a professional.
14. Gratiano (The Merchant of Venice) – It’s okay if you don’t remember. He’s the other guy, the one who ends up with Nerissa. But he’s also a really clever comic character who can be a lot of fun to play.
13. John Talbot (1 Henry VI) – He only appears in a couple of scenes, but Lord Talbot’s son can display valor and loyalty in rhymed couplets like nobody else.
12. Thersites (Troilus and Cressida) – Shakespeare describes him as “a deformed and scurrilous Grecian,” and that’s just in the Dramatis Personae.
11. Lord Chief Justice (2 Henry IV) – Henry V’s harsh denial of Falstaff overshadows the new king giving a high place of honor to the constable who chased him down throughout his wayward youth.
10. Doll Tearsheet (2 Henry IV) – Falstaff’s favorite prostitute knows how to handle herself in a bar fight. She gives Pistol a tongue-lashing he really should have had to pay for.
9. Apemantus (Timon of Athens) – Oh yeah, I went there. But you don’t have to read the whole play, just check out the mother joke in the first scene.
8. Pistol (Henry V) – The loudmouth soldier tends to get overshadowed by Falstaff. But his bombast can shatter the stage when he’s ready to discharge.
7. Domitus Enobarbus (Antony and Cleopatra) – He’s a loyal soldier who abandons Antony only because he can’t support his self-destructive behavior. When Antony returns his treasure, Enobarbus dies of shame.
6. Arthur (King John) – He has few scenes, despite being an important character to the plot. He makes the list for successfully appealing to the heart of a man who has been sent to murder him.
5. Lady Grey (3 Henry VI) – After her side has lost the war, the Widow Grey bravely stands up to the new King. He cannot intimidate her, so he marries her instead. She’ll be Queen Elizabeth in the next play.
4. Sir William Catesby (Richard III) – We remember the evil machinations of Richard and Buckingham, but Catesby is there with them every step of the way, and seems to have no conscience about it.
3. Tranio (The Taming of the Shrew) – It’s easy to forget about Tranio. But while his master is playing servant to win his one true love, Tranio’s the servant who is playing his master – the much harder role!
2. First Gravedigger (Hamlet) – Often dismissed as merely a comic character, the Gravedigger gives Hamlet a chance to reflect on matters of life and death, thus underscoring one of the major themes of the play.
1. Jack Cade (2 Henry VI) – He’s an unlikely claimant to the throne, but his populist rhetoric has the power to start a rebellion at least. This is, I believe, Shakespeare’s most underrated character.
And finally, I invite my friends at Pursued By a Bear to join me in awarding an honorable mention to the most awesome, most minor character in the entire canon…
On Friday evening, I went to see the Bridge Project production of Richard III, directed by Sam Mendes.
I’ve always been a fan of Kevin Spacey, particularly in American Beauty, The Usual Suspects, and Glengarry Glen Ross. I was very much looking forward to seeing him in my favorite play.
He gave a fantastic performance as Richard III, but I thought the production took too many liberties with the text for the sake of their famous headliner. Take a look at an excerpt from the production script and I think you’ll see what I mean.
ACT IV. SCENE II. London. The palace.
Sennet. Enter KING RICHARD III, in pomp, crowned; BUCKINGHAM, CATESBY, and others.
KING RICHARD III
Stand all apart Cousin of Buckingham!BUCKINGHAM
My gracious sovereign?KING RICHARD III
Mine. 1970 Pontiac Firebird. The car I’ve always wanted and now I have it. I rule! But shall we wear these honours for a day? Or shall they last, and we rejoice in them?BUCKINGHAM
Still live they and for ever may they last!KING RICHARD III
O Buckingham, now do I play the touch,
To try if thou be current gold indeed.
I need to shape up fast: think now what I would say.BUCKINGHAM
Say on, my loving lord.KING RICHARD III
Cousin, thou wert not wont to be so dull:
Shall I be plain? I want to look good naked!
What sayest thou? speak suddenly; be brief.BUCKINGHAM
Give me some breath, some little pause, my lord
Before I positively herein:
I will resolve your grace immediately.
Exit
CATESBY
The king is angry: see, he bites the lip.KING RICHARD III
Let’s all sell our souls and work for Satan because it’s more convenient that way. Catesby!CATESBY
My lord?KING RICHARD III
Rumour it abroad
That Anne, my wife, is sick and like to die.Exit CATESBY
Our marriage is just for show. A commercial for how normal we are when we’re anything but.
Enter TYRREL
Is thy name Tyrrel?
TYRREL
James Tyrrel, and your most obedient subject.KING RICHARD III
Ely always said, “I don’t believe in God, but I’m afraid of him.” Well I believe in God, and the only thing that scares me are those bastards in the Tower.TYRREL
Let me have open means to come to them,
And soon I’ll rid you from the fear of them.Exit TYRREL.
Re-enter BUCKINGHAM.
BUCKINGHAM
My Lord, I have consider’d in my mind
The late demand that you did sound me in.KING RICHARD III
Well, let that pass. Dorset is fled to Richmond.BUCKINGHAM
I’ve heard we have the Marquess lost, my lord.KING RICHARD III
Lose him? We didn’t lose him. It’s not like, “Whoops! Where’d Dorset go?” HE QUIT. Someone pass the asparagus, please.BUCKINGHAM
My lord, I claim your gift, my due by promise,
For which your honour and your faith is pawn’d;
The earldom of Hereford and the moveables
The which you promised I should possess.KING RICHARD III
I’m really thirsty. I used to dehydrate as a kid. One time it got so bad my piss came out like snot. I’m not kidding, it was all thick and gooey.BUCKINGHAM
What says your highness to my just demand?KING RICHARD III
That guy is tense. Tension is a killer.BUCKINGHAM
My lord!KING RICHARD III
I used to be in a barbershop quartet in Skokie, Illinois. The baritone was this guy named Kip Diskin, big fat guy, I mean, like, orca fat. He was so stressed in the morning…BUCKINGHAM
My lord, your promise for the earldom,–KING RICHARD III
Tut, tut, thou troublest me; I am not in the giving vein to-day.BUCKINGHAM
Why?KING RICHARD III
Because I don’t like you.BUCKINGHAM
Why, then resolve me whether you will or no.KING RICHARD III
Will you go to lunch? Go to lunch. Will you go to lunch?Exeunt all except for BUCKINGHAM
BUCKINGHAM
The greatest trick the Devil ever pulled was convincing the world he didn’t exist. And like that, poof. He’s gone.
I went to see Anonymous, the new Roland Emmerich film questioning the authorship of Shakespeare’s plays, with cautious anticipation. What I was not expecting was to be thoroughly entertained by a period-piece thriller fantasy, but I was! I loved this movie, and can’t wait to go see it again. Seriously.
Let’s set aside the question of whether or not the film is accurate. The film is wildly inaccurate. The notion that Shakespeare didn’t write the plays is not even the most egregious speculation offered by John Orloff’s cheeky screenplay. If anyone wants to stand outside the theatre and argue that, yes, this is all true, they should be treated about as seriously as someone making that claim about Star Wars or Waiting for Superman. But inside the theatre, we have license to suspend our disbelief. Call it historical fiction, alternate timeline, sci-fi fantasy, or whatever helps the medicine go down, but don’t miss Anonymous for political reasons.
The film is based on the premise that the plays we know as William Shakespeare’s were actually written by Edward De Vere, 17th Earl of Oxford. Unable to claim the plays as his own in a treacherous climate, he asks established playwright Ben Jonson to put his name on them. Jonson wants to keep his voice distinct from the nobleman’s, so an illiterate actor, one William Shakespeare, steps forward and claims the glory. Political maneuverings surrounding the question of who will succeed the aging Queen Elizabeth I create tension for Oxford, who finds that he can speak directly to the people through the voice of his celebrated front man. You see? It all makes perfect sense.
The visual depiction of Elizabethan London is stunning and believable. Rhys Ifans and Sebastian Armesto give outstanding performances as Oxford and Jonson. Vanessa Redgrave and Joely Richardson (her daughter) together create a powerful mutli-dimensional Elizabeth. If you can stomach the depiction of our beloved William Shakespeare as an opportunistic buffoon, he is played to comic perfection by Rafe Spall. But if it does bother you, please remember that Shakespeare himself is largely responsible for our present day image of King Richard III as a deformed child-murderer. Payback’s a bitch, Billy-Boy.
But his own depiction aside, I think Shakespeare is honored by this film. A running theme throughout the movie is that these simple words have the power to delight and to inspire, to incite riots and to seduce monarchs. Will some people come away with the idea that Shakespeare was a fraud? Maybe. But for every audience member who gets that impression, there will be another ten who are moved to find out more about these plays and poems. We get to hear quite a bit of the original language spoken by the magnificent Mark Rylance as Richard Burbage, and the see the power it wields. That’s the transcendent truth that rises above all of the fabrications. And that, ultimately, is what we take away from Anonymous.
In Shakespeare’s time, people did not go to “see” a play; they went to “hear” a play. Which Shakespeare play would you like to hear?
A few months ago, I wrote a post about my Shakespeare addiction that referenced the Caedmon audio production of As You Like It. Regular readers of the blog know well the extent of this addiction, but what they may not know is the degree to which that addiction includes audio productions of Shakespeare. Most people organize their mp3 playlists with different genres of music plus one “Spoken Word” category. My iPhone has a “Music” playlist, with various Spoken Word sub-genres, including several playlists of performances of Shakespeare. Given the hours upon hours I have spent listening to these productions, I am now pleased to share with you my ten very favorite selections.
Now, if this is your thing, you really need to get The Complete Arkangel Shakespeare
Standard disclaimers apply. These are based on my own preferences, which are always subject to change. I based my rankings on writing, acting, directing, production, and music. I limited myself to modern productions only, so you won’t find Paul Robeson or Orson Welles on the list. And I’m sure there are many excellent productions I haven’t listened to. Basically, these are the ten audio productions of Shakespeare I find myself returning to again and again.
And, in keeping with tradition, my top ten list will have twenty entries. Enjoy!
Directed by Glyn Dearman; Starring Sir John Gielgud (Lear), Kenneth Branagh (Edmund), Emma Thompson (Cordelia), Derek Jacobi (France), Bob Hoskins (Oswald), Judi Dench (Goneril), Michael Williams (Fool), and Richard Briers (Gloucester).
This, to me, is the definitive audio Lear. Gielgud takes a larger-than-life character and truly brings out his humanity. An all-star cast delivers solid performances across the ensemble. This is Shakespeare the way it was meant to be performed.
Vanessa Redgrave as Rosalind gives one of the greatest audio performances I’ve ever heard. If you’re a fan of the play, or even if you’re not, you owe it to yourself to hear this amazing production.
Starring Kenneth Branagh (Richard III), Celia Imrie (Queen Elizabeth), Bruce Alexander (Edward IV), Michael Maloney (Clarence), John Shrapnel (Hastings), Stella Gonet (Anne), Jamie Glover (Richmond), and Nicholas Farrell (Buckingham).
I wouldn’t really have thought of Branagh for the hunchbacked villain, but he does a great job leading a top-notch cast in performing Shakespeare’s classic history play. I never really knew how much was going on in this play until I heard this production.
Starring Michael Feast (Julius Caesar), John Bowe (Brutus), Adrian Lester (Mark Antony), Geoffrey Whitehead (Cassius), Estelle Kohler (Portia), and Jonathan Tayler (Octavius).
I can listen to this one again and again. The exchanges between Bowe’s Brutus and Whitehead’s Cassius are electric, and Marc Antony’s powerful monologues are explosive in Lester’s more-than-capable hands.
5. The Comedy of Errors (Arkangel)
Starring David Tennant (Antipholus of Syracuse), Brendan Coyle (Antipholus of Ephesus), Alan Cox (Dromio of Syracuse), Jason O’Mara (Dromio of Ephesus), Niamh Cusack (Adriana), Sorcha Cusack (Luciana), and Trevor Peacock (Egeon).
Along his path to directing the canon, Clive Brill has a lot of fun with Shakespeare’s only slapstick comedy. Silly sound effects and comical music underscore fantastic comic performances by a brilliant cast. Remember, dying is easy; Comedy‘s hard.
Starring Michael Feast (King John), Eileen Atkins (Constance), Michael Maloney (Bastard), Geoffrey Whitehead (Phillip), Trevor Peacock (Hubert), Bill Nighy (Pandulph), and Margaret Robertson (Elinor).
Michael Maloney steals this particular show, as the Bastard often does in King John. But strong performances across the cast have the power to churn the blood and tug a few heartstrings as well.
There are a number of audio Macbeths to choose from, but I give Anthony Quayle pride of place. Mood-enhancing sound effects and strong performances across the board make this production the Macbeth of choice.
Starring Hugh Quarshie (Othello), Anton Lesser (Iago), Emma Fielding (Desdemona).
Lesser’s edgy voice creates a dangerous Iago, who provokes a genuine sense of menace. Quarshie’s passionate Othello makes for a worthy tragic figure. Together, the two performances leave us with an unforgettable audio experience.
Directed by David Timson; Starring Samuel West as Henry V.
This is a stirring and creative production of Henry V. Vibrant interpretations of even the minor characters make for a consistently interesting and entertaining presentation of the well-beloved history.
Starring Niamh Cusak (Rosalind), Stephen Mangan (Orlando), Gerard Murphy (Jaques), Clarence Smith (Touchstone), and Victoria Hamilton (Celia).
This is a really great audio production of the play. I rated the other version much higher, but I actually prefer Dominique Le Gendre’s music in this one. And for As You Like It, the music is no insignificant character.
11. Measure for Measure (Arkangel)
Starring Roger Allan (Duke), Simon Russell Beale (Angelo), Stella Gonet (Isabella), Jonathan Firth (Claudio), and Stephen Mangan (Lucio).
Here’s another one I keep revisiting. Beale and Gonet create sparks as Angelo and Isabella, Mangan is brilliant as Lucio, and Allan’s Duke never lets you forget who’s in charge. I think I want to go listen to this one right now.
Starring Paul Scofield (Lear), Alec McCowen (Gloucester), Kenneth Branagh (Fool), David Burke (Kent), Harriet Walter (Goneril), Emilia Fox (Cordelia), Sara Kestelman (Regan), Richard McCabe (Edgar), and Toby Stephens (Edmund).
Okay, so Paul Scofield as Lear should be enough, right? But he is supported by a great ensemble cast in a well-directed version of one of the greatest plays ever written. Check it out!
Starring Ian McKellen (Prospero), Scott Handy (Ariel), Emilia Fox (Miranda), Neville Jason (Antonio), Benedict Cumberbatch (Ferdinand), and Ben Onwukwe (Caliban).
Okay, so Ian McKellen as Prospero should be enough, right? But this is another high-quality Naxos masterpiece – a must-have for Shakespeare audio collectors.
14. Henry IV, Part One (Arkangel)
Starring Jamie Glover (Hal), Julian Glover (Henry IV), Alan Cox (Hotspur), and Richard Griffiths (Falstaff).
I really love this play, and the Arkangel production does it great justice. Griffiths creates a Falstaff with his voice that has the power to rival his stage counterparts. Each scene in this production is like a little gift-wrapped present.
Anton Lesser is the man! This time, he lends his distinctive voice to the Melancholy Dane, striking just the right balance between contemplative and bitter, between witty and mad. There are certainly other audio Hamlets, but Lesser is greater!
16. A Midsummer Night’s Dream (Naxos)
Starring Warren Mitchell (Bottom), Michael Maloney (Oberon), Sarah Woodward (Titania), Jack Ellis (Theseus), Benjamin Soames (Lysander), Jamie Glover (Demetrius), Cathy Sara (Hermia), Emily Raymond (Helena), and Ian Hughes (Puck).
Again, I have several versions of the Dream to choose from, but I think I’ll take Naxos for the win. I’ve heard these words so many times, it’s an impressive production that can still make me laugh at them.
Starring Rupert Graves (Richard II), Julian Glover (Bolingbroke), and John Wood (John of Gaunt).
Let’s talk of Graves. (See what I did there?) He gives an outstanding performance as Richard, which is important, because – let’s face it – he does tend to go on a little.
18. Henry VI, Part Three (Arkangel)
Starring David Tennant (Henry VI), Kelly Hunter (Margaret), Clive Merrison (York), Stephen Boxer (Edward), John Bowe (Warwick), and David Troughton (Richard).
This is the beauty of the Arkangel series. You can listen to any play, any act, any scene you like. And sometimes, you just really need to hear the “paper crown” scene. When that day comes for you, this is the recording you’ll want to have.
19. Romeo and Juliet (Arkangel)
Starring Joseph Fiennes (Romeo), Maria Miles (Juliet), and Elizabeth Spriggs (Nurse).
Dominique Le Gendre’s love theme for this production becomes the theme song for the entire Arkangel series. Fiennes and Miles are wonderful, as you knew they would be. When you want to hear this play, hear this version.
Starring Stella Gonet (Viola), Jonathan Keeble (Orsino), Jane Whittenshaw (Maria), Malcolm Sinclair (Andrew), David Timson (Feste), Lucy Whybrow (Olivia), Christopher Godwin (Malvolio), and Gerard Murphy (Toby).
Well, what can I say, this is my twentieth favorite. But it’s the best of all of the Twelfth Night productions I own, and it’s a great presentation of a fun play, so why not give it a listen?
…be with you.
Today is Star Wars Day, and Shakespeare Geek and Bardfilm made sure that Shakespeare got in on the action. For my contribution… No, I’m not going to compare Luke Skywalker to Hamlet, at least not today. But I would like to share how the Star Wars franchise has made teaching Shakespeare just a little bit easier.
A series of three related dramatic works is called a trilogy. Four works make a tetralogy. Early in Shakespeare’s career, he wrote a tetralogy of plays about the English kings: Henry VI, Part One; Henry VI, Part Two; Henry VI, Part Three; and Richard III. The plays cover the span of events from 1422 to 1485, and are referred to collectively as the first tetralogy.
A bit later (though still early in his career), Shakespeare wrote another tetralogy of plays about the English kings: Richard II; Henry IV, Part One; Henry IV, Part Two; and Henry V. These plays were set earlier; they depict events that occurred from 1399 to 1415. This was the second tetralogy.
This seems pretty straightforward, but it could often cause confusion, even for graduate students. The second tetralogy takes place before the first tetralogy? How can that be? Why did he do it that way? Wait, which was the first tetralogy?
Everything changed with the release of Episode One: The Phantom Menace. Now, when I explain that Shakespeare wrote the first tetralogy before the second, but the second takes place before the first, I can enjoy their momentarily confused looks. I know I can just add “You know, like Star Wars…” and instantly see the clouds lift and light shine into the room. Since the second Star Wars trilogy, everyone understands the idea of a prequel series.
So thank you to Star Wars for making a hard thing easy. May Henry IV be with you!
It’s time once again to check in on what searches people have done to find themselves at Shakespeare Teacher, and to respond in the name of fun and public service. All of the following searches brought people to this site in the past week.
That’s a great question. I think it’s fair to say the idea that human beings develop in distinct stages was pioneered by Sigmund Freud in the 20th century, when he outlined his psycho-sexual stages of development in childhood. Erik Erikson, a developmental psychologist strongly influenced by Freud, described his own set of psycho-social stages, which carried through to adulthood.
Groundbreaking as these ideas were, they were to some degree anticipated by Shakespeare in his Seven Ages of Man speech from As You Like It. In the speech, Shakespeare describes seven developmental stages that carry through from childhood to adulthood, and the common characteristics that men display at each stage. Freud and Erikson would later codify this scientifically, but the Bard was able to figure it out just by observing the human condition. Point: Humanities!
It’s worth noting that both Freud and Erikson wrote about Shakespeare, and Hamlet in particular, to describe their theories. In a 1962 article entitled “Youth: Fidelity and Diversity,” Erikson actually references Shakespeare’s “ages of man” before spending about four pages examining fidelity and identity in Hamlet. So it would seem that the answer to the question is, yes, Erikson was influenced by Shakespeare to some degree, as was Freud. But influence often tends to be reflective, and the developmental psychologists certainly left their mark on Shakespeare as well.
I touched on this a bit about a month ago. I used to use “Mosh” to teach poetic devices, and I’m having trouble finding a more contemporary replacement. I’ll just give a sampling of each of the poetic devices I mentioned in that post. I tend to use only the middle stanza and the chorus, which I make into a handout. I also distribute the Prologue for Romeo and Juliet as a handout, so we can compare the two.
Repetition: “We gonna fight, we gonna charge, we gonna stomp, we gonna march”; “All you can see is a sea of people”; “If it rains let it rain”; “Rebel with a rebel yell”
Rhyme: Not only is there end rhyme, but there is internal rhyme as well. “They tell us no we say yea, they tell us stop we say go/ Rebel with a rebel yell, raise hell we gonna let em know”; “yea the wetter the better”; “that we need to proceed”
Rhythm: “Mosh” is written in anapestic tetrameter, which I always point out is the same meter as “‘Twas the Night Before Christmas”… and other popular poems as well. The Prologue for Romeo and Juliet, of course, is in iambic pentameter.
Alliteration: Note that in “we gonna mosh through the marsh” the words “mosh” and “marsh” start and end with the same sounds. Compare with “doth with their death” in the Prologue for Romeo and Juliet.
Antithesis: “They tell us no we say yea, they tell us stop we say go”; “from the front to the back”; “some white and some black”
Allusion: There’s a reference to George W. Bush in the passage.
Emendation: This is where I edited the reference to George W. Bush. I usually change it to “Stomp, push, shove, mush, [mock] Bush” even using the brackets like a Shakespeare editor.
In a 2006 interview with Brian Williams, President Bush claimed to have recently read “three Shakespeares” in addition to curling up with some Camus:
WILLIAMS: We always talk about what you’re reading. As you know, there was a report that you just read the works of a French philosopher. (Bush laughs)
BUSH: The Stranger.
WILLIAMS: Tell us the back story of Camus.
BUSH: The back story of the the book?
WILLIAMS: What led you to…
BUSH: I was in Crawford and I said I was looking for a book to read and Laura said you oughtta try Camus, I also read three Shakespeare’s.
WILLIAMS: This is a change…
BUSH: Not really. Wait a minute.
WILLIAMS: A few months ago you were reading the life story of Joe DiMaggio by Richard Ben Cramer.
BUSH: Which was a good book.
WILLIAMS: You’ve been on a Teddy Roosevelt reading kick.
BUSH: Well, I’m reading about the battle of New Orleans right now. I’ve got an eclectic reading list.
Williams didn’t ask him what “Shakespeares” he read, but I have my guess at one of them, as well as a selection I wish he’d read.
The constant pi is nature’s random digit generator, stretching out infinitely long and with no predictable pattern. This means that any finite string of numbers can be found somewhere out in the vast expanse of digits.
So if we were to express the Complete Works of Shakespeare in, say, ASCII code, it would indeed be represented as a very long, but certainly finite, string of digits. This string of digits is represented somewhere in pi, not once, but an infinite number of times. What’s more, the very first time it appears would be a finite distance in. Which means, there is some number X where you could say that if you start X digits into pi, you can read the Complete Works of Shakespeare.
Before you get too excited by that, you should realize that X is so unfathomably large that it would most likely be beyond human comprehension to even find a way to express it, let alone come anywhere near identifying it. You may think of the monkeys-at-typewriters thought experiment (and for our purposes, we can consider both the digits of pi and monkeys typing to be generating random characters). Even using theoretical monkeys, the number of simian typists needed would be beyond astronomical.
But, yes, the Complete Works of Shakespeare are somewhere in pi with a probability of 1. If the thought of that makes you smile, I’ve done my job.
Henry IV was often referred to as Henry Bolingbroke, but actually, his last name was Plantagenet.
In fact, all of the English kings from Henry II to Richard III carried the surname Plantagenet. This means that throughout the entire Wars of the Roses, the Yorks and Lancasters all had the same last name, which is found throughout the history plays. This is because both sides were led by male-line descendants of Edward III. There is a reference to this in Richard III, as Richard hits on the widow of the cousin he killed:
Glo. He that bereft thee, lady, of thy husband,
Did it to help thee to a better husband.
Anne. His better doth not breathe upon the earth.
Glo. He lives that loves thee better than he could.
Anne. Name him.
Glo. Plantagenet.
Anne. Why, that was he.
Glo. The self-same name, but one of better nature.
Anne. Where is he?
Glo. Here.
The long Plantagenet line comes to an end in 1485, when Richard III is defeated by a young man named Henry Tudor.
Rick Astley, before he became well known as a singer, did a bit of acting and even performed in some Shakespeare. Most of his Shakespeare work was done on stage and not screen, but there is a video clip of him performing the “never give her o’er” speech from The Two Gentlemen of Verona. The video can be found on YouTube here.
I leave the task of responding to the remaining search terms to my readers:
what would malcolm say about shakespeare advice in hamlet
what do shakespeare have to do with the gilded age
love letters written by shakespeare
who played in the kings men in macbeth
id, ego, superego of othello
four letter shakespearean rebuke
From Richard III:
Gold were as good as twenty orators,
And will, no doubt, tempt him to any thing.
Shift around the letters, and it becomes:
Do limit ad moneys industry gets to allot. We’re wrong to hop that bandwagon.
It’s time once again to check in on what searches people have done to find themselves at Shakespeare Teacher, and to respond in the name of fun and public service. All of the following searches brought people to this site in the past week.
That’s a good question. For the past five years, I’ve been using “Mosh” by Eminem. It was great for teaching repetition, rhyme, rhythm, alliteration, antithesis, allusion, and emendation (where I edited out the profanity). Useful as it is, though, it’s starting to get a little old, so I’d appreciate any good suggestions. Are there any popular hip hop songs today that use a lot of poetic devices that might be good for teaching Shakespeare?
Well, the Tudors were English, but it’s important to remember that they reigned from 1485 to 1603, a time of extraordinary changes in publishing, literacy, and what would be considered “the English language.” This was the time of the Great Vowel Shift, as Middle English transitioned into Early Modern English, and the Middle Ages gave way to the Renaissance.
Probably the most famous work written by a Tudor monarch would be the Defense of the Seven Sacraments, which Henry VIII wrote in Latin, a very common written language at the time. However, his personal letters are in English.
Bloody Mary refers to Queen Mary I, another Tudor monarch who reigned from 1553-1558. She was daughter to Henry VIII (by Catherine of Aragon) and older sister to Elizabeth I. She died before Shakespeare was born, and does not appear in any of his plays, not even the one that bears her father’s name.
The phrase “ghost the fine worth” is an anagram of “Twelfth Night, or Shoe” if you add an extra “L” into the mix. But “Shoe” is not the subtitle of that play, and the extra “L” is cheating, so that’s probably not it. If you do allow substitutions, you can swap “S” for “KNURY” and make “King Henry the Fourth, Two.” The closest I can come is to remove an “O” from the original phrase and replace it with “AEM.” What play title could you anagram then?
UPDATE: Play title discovered by Dharam. See comments for answer.
It’s hard to really put a play at a particular grade level. I prefer to teach the play I want to teach, and plan instruction to fit the students I’m teaching. I’ve only taught As You Like It twice, once to 7th graders and once to graduate students. The lighthearted tone of the play and the fun situations that it depicts make this a fun choice for even the youngest students studying Shakespeare. So if you’re wondering if As You Like It would be a good play for your students, it probably is!
The historical Macbeth died in 1057, so the event you’re looking for is most likely the Battle of Hastings in 1066. This completed the Norman invasion, and basically defined what we think of England even today. William the Conqueror became King William I of England, and every English monarch since – whether King John or Richard III or Henry VIII or George III or Victoria or Elizabeth II – has been a direct descendant of his. That is one impressive legacy.
I leave the task of responding to the remaining search terms to my readers:
using shakespeare to increase literacy
how did shakespeare fight back
what technology influenced shakespeare in his times?
iago othello represent the id ego superego
obituary in shakespearean language
slings & arrows new burbage 2010
