From Henry VIII:

Not almost appears,
It doth appear; for, upon these taxations,
The clothiers all, not able to maintain
The many to them longing, have put off
The spinsters, carders, fullers, weavers, who,
Unfit for other life, compell’d by hunger
And lack of other means, in desperate manner
Daring the event to the teeth, are all in uproar,
And danger serves among then!

Shift around the letters, and it becomes:

Handmade internal drama rages for the GOP.

House Republicans arranged to hold up meaningful tax reform for the bottom ninety-eight percent to keep annual rates small for the top two.

Mitt’s evenhanded plan, on the other hand, graphs small rate raises on the lower ninety-five percent to then have annual rates less for the top five.

Socialist.

I’ve long enjoyed the Shakespeare song parodies posted by Bardfilm and ShakespeareGeek. Now, it’s my turn to join in the fun. If this works out, maybe I’ll make it a regular feature.

The idea is to take a popular song and change the words so that it’s about Shakespeare. Here is my first attempt. Enjoy!

Filled with Woe
sung to the tune of “Somebody That I Used to Know”

(With apologies to Gotye, Kimbra, and my readers…)

Now and then I think of when you were my whole tomorrow,
Like when I kissed you at your father’s masquerade;
Told myself that you were right for me,
But felt alone under your balcony,
And yet I always felt that parting was such sweet sorrow.

You can get addicted to a certain kind of sadness,
Like how we know our parents never would approve;
So when you heard that I was banishéd,
Well, you said that we would still be wed,
But I’ll admit that I feared it was over.

But you didn’t have to kill yourself,
Taking poison on your wedding day and come to nothing,
And losing you was hard enough,
But you’re lying dead near Tybalt and that feels so rough.

O, you didn’t have to do this, no,
But I bought some poison, killed Count Paris, now I join your number;
Thus, with a kiss, I let you go,
Now I die somebody who is filled with woe!

Now I die somebody who is filled with woe!
Now I die somebody who is filled with woe!

* * *

Now and then I think about our plan to stay together,
And now I’m guessing that you never really got my note;
A pity you did not survive,
Because the whole time I was still alive;
Thy lips are still warm, Romeo,
And so, happy dagger, kill me –
I’m somebody who is filled with woe!

* * *Somebody!
Filled with woe!
Somebody!
Filled with woe!

Now I die somebody who is filled with woe!

Just as we make Shakespeare more relevant to our students by drawing modern-day connections to his plots and characters, so too can we use the elements of today’s world to make connections to his language.

Sometimes when I teach iambic pentameter, I feel like my students can be like the syllables in that very meter: about half of them are stressed and half of them are unstressed. Whichever half you’re in, you should enjoy Pentametron. This is a website that searches Twitter for tweets that are naturally in iambic pentameter. It then somehow sorts them into rhymed couplets and groups them 14 lines to a page.

It’s intriguing to see instances of unintentional meter. Here are a few quick examples (slightly edited in the retype):

I will forever love The Cosby Show.
Whatever, ready for tomorrow, though.
I haven’t eaten anything today.
I really want to dance the night away.
That breakfast sandwich didn’t stand a chance.
So… what’s the definition of romance?
It’s pretty much already Thursday, damn.
Bob Dylan IS the Tupac hologram.

Click through to see many more. Some of the language is a little salty to use the actual website in the classroom, but it’s a good place to find examples of natural language iambic pentameter and with social media cred to boot! Note that these people aren’t deliberately writing in iambic pentameter, but they ended up doing it anyway. This can help you to make the meter less intimidating for students, and to make the point, as some have argued, that iambic pentameter mimics common natural English language patterns.

I’ve written before about using song lyrics to teach poetic devices, but “Mosh” is about eight years old and I’ve been searching and searching for a more recent song that would be just as useful.

Ladies and gentlemen, we have a winner.

From “More” as performed by Usher
Written by Hinshaw, Khayat, and RaymondWatch me as I dance under the spotlight-
Listen to the people screaming out more and more,
‘Coz I create the feeling that keep ’em coming back,
Yeah, I create the feeling that keep ’em coming back,
So captivating when I get it on the floor.

Know y’all been patiently waiting, I know you need me, I can feel it,
I’m a beast, I’m an animal, I’m that monster in the mirror,
The headliner, finisher, I’m the closer, winner.
Best when under pressure with seconds left I show up.

If you really want more, scream it out louder,
Get it on the floor, bring out the fire,
And light it up, take it up higher,
Gonna push it to the limit, give it more.

Rhyme: more/floor, fire/higher

Alliteration: “monster in the mirror,” create/coming/captivating

Assonance: “patiently waiting,” finisher/winner, Best/pressure/seconds, “limit/give it”

Lists: “I’m a beast, I’m an animal, I’m that monster in the mirror, the headliner, finisher, I’m the closer, winner.”

Antithesis: Get it on the floor/take it up higher

You can have students analyze these lyrics side-by-side with a speech from Shakespeare and compare how the two texts use the same devices. They can then find more examples within the play you are teaching or song lyrics they bring in. They can even start using these devices in their own poetic creations!

I was surprised to see that my local theatre was showing a movie version of The Tempest with Christopher Plummer as Prospero. I was unaware that there was such a film, and this is kind of my thing.

It turned out to be a filmed version of a stage production from the Stratford Festival in Canada. I’ve seen stage plays captured on film before, and with good effect, but never in an actual movie theatre, and this was unlike any other such film I had ever seen. Footage was taken from two different performances in front of live audiences. They used 10 different cameras, so they really were able to cut from scene to scene in a very cinematic way. And the actors were all miked for the film, not the audience, so the sound quality was immaculate.

I have to admit that the immediate effect was somewhat jarring. After the opening storm scene (which is meant to be jarring) we have the scene where Prospero gives the exposition to his daughter Miranda and the audience. Here we see the effect of imposing close-ups on a medium that wasn’t designed for it. We hear and see actors emoting and projecting for an 1800-seat theatre, but right up close and personal on the big screen. This took some getting used to, but once my eyes adjusted, the artifice disappeared, belief was once again willingly suspended, and we were left with just the story.

There is a difference between seeing a stage production and a movie, and ultimately this was more like seeing the stage production. There are so many opportunities to have digitally-enhanced special effects in movies, but we quickly become jaded to these. The better the effect, the more invisible it becomes over time. However, in the theatre, the opposite is true. The magic of the stage has a much greater chance to be awe-inspiring, and this effect was preserved even as we know what we’re watching has been filmed. Just as in the theatre, we could see stagehands striking set pieces and the stage revolving to create wonderful illusions. The theatre requires much more of the audience than films do, and knowing that we are in on creating the illusion through our belief is part of the fun. Whether we’re being asked by Shakespeare to “piece out our imperfections with your thoughts” or by Peter Pan to clap for Tinkerbell, there is an actor-audience dynamic that loses something when the two don’t share the same space.

So, I was very conscious of the fact that I was watching this performance with two different audiences. First, the Stratford audience was visible and audible in the movie, which added a great deal. But there was also the audience that I was part of, sitting in an air conditioned movie theatre on a warm Sunday afternoon. The stage audience was quite often laughing and clapping along with the performance, while we in the cinema audience rarely were. And as much as I was appreciating the audience response, perhaps even needing it, it served as a constant reminder that I was one step removed from the living space. I was an audience to an audience, vicariously living out the theatrical moment.

Nevertheless, I had a transformative experience, and that’s not something I get to have too often these days. Frankly, The Tempest has never been one of my favorite plays. But as I was sitting there watching this amazing production, it occurred to me that I could not remember actually having ever seen a stage production of it. I’ve read it, held readings of it, taught it… I even led a 7th-grade class in creating a half-hour animated musical production of it, for which I edited the script. But never having seen it the way Shakespeare was meant to be performed, as they say, I never fully appreciated it until now. So maybe some of the magical fairy dust was able to find its way into the movie house after all. I do believe in fairies. I do!

Gerant-Wyn Davies stole the show as Stephano, and his scenes with Bruce Dow’s Trinculo and Dion Johnstone’s Caliban were laugh-out-loud funny. I loved the music, particularly the goddesses singing, which was a masterpiece of theatrical spectacle. Julyana Soelistyo was delightful as a spritely Ariel. And, of course, Plummer was magnificent as Prospero, drawing me into his world as though I were just another one of his hapless victims. His delivery of the most famous Prospero speeches, no more than overly familiar words to me, made me understand why they became so famous in the first place. When he finally said “I’ll drown my book” you could feel the deep sense of loss for him. I can’t say what Shakespeare had in mind, but someone was definitely saying farewell to something that was deeply profound and meaningful to him.

And, as though you hadn’t already gotten your $18 worth, there is a bonus at the end. After the play is over, the movie continues with a Q&A featuring director Des McAnuff and Plummer taking questions from the show’s producer and an audience who had viewed the film. Plummer was witty and charming, especially delighting in taking wry pot-shots at Anonymous without ever mentioning it by name. They also discuss the challenges of interpreting a stage production for the screen and some of what they’ve learned about working with The Tempest.

I don’t know how much longer this movie will be in theatres, but if you can’t see it on the big screen, it will definitely be worth checking out on a smaller screen near you.

Sonnet CXVI:

Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:
O, no! it is an ever-fixed mark,
That looks on tempests and is never shaken;
It is the star to every wandering bark,
Whose worth’s unknown, although his height be taken.
Love’s not Time’s fool, though rosy lips and cheeks
Within his bending sickle’s compass come;
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
If this be error, and upon me prov’d,
I never writ, nor no man ever lov’d.

Shift around the letters, and it becomes:

The hero’s vivid verse betokens what
Revision moods for marriage norms befall.
Rethinking home life won’t disturb ours, but
Denying some their rights makes shames for all.
Religious voters revved up, think again.
Deem this opinion, not like proven fact.
We minimise Him at evoking men
To harbor hidden love and not to act.
To honor same-sex lovebirds who invest
In that we vehemently do erect,
To think that love should not be too suppressed;
It tends to kick in where we least suspect.
For while the Bard was wed to Mrs. Anne,
He wrote this sonnet for another man.

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.

The Klaxon invaders lit up the starship corridor with weapons fire, as Alliance scientists and technicians dove for cover on the other end. Klaxons had a reputation for ruthless violence, but nothing could prepare you for your first encounter with them. It was likely to be your last.

This starship seemed an unlikely target. The captain recalled how a mundane scientific mission had turned noteworthy by the addition of the President of the Intergalactic Council, who decided to join the expedition as an observer. The scientists had been excited by the leader’s visit, and were eager to show him the important work they had been doing. But now, a Klaxon boarding party was attacking, and his life, all of their lives, were very much in danger.

A Klaxon pulse blast damaged a power generator, creating massive interference waves in the electromagnetic field within the ship, which rendered pulse weapons on both sides absolutely useless. What now? Hand-to-hand fighting? Klaxons weren’t known to be skillful in direct combat, but they could likely hold their own against a team of scientists with no battle experience.

Suddenly, the side hatch flew open, and there stood Will Daring, one of the two humans who had recently been taken from Earth, the planet they were currently orbiting. Telescopes had not yet been invented on their world, so it seemed safe to do the experiments close by. The captain had no idea how the male human had broken loose from his containment section, but he had bigger problems.

Will Daring walked halfway down the corridor. Was he fearless, or did he just not understand the threat the Klaxons posed? He bent to the floor to pick up one of the sharp wooden pikes that had been dislodged from its decorative place on the wall by the Klaxon weapons, and waved it menacingly in front of the invaders. The Klaxons took one look at the handsome eighteen-year-old human gesturing wildly with his makeshift lance, and decided it wasn’t worth the risk. They made a hasty retreat to their battleship, frightened off by no more than a boy holding a stick.

When he returned back to his hosts, the captain greeted him warmly. “You have saved the lives of this entire team, not to mention the President of the Intergalactic Council. We are all in your debt, Will Shake-Spear.” It was customary for Alliance captains to grant titles based on achievements in battle, and Will liked the way the moniker rang in his ear. “I have something for you,” the captain added slyly, beckoning Will to follow him into a side chamber.

Once the two men were alone, the captain handed Will a thick packet of paper, bound in a leather portfolio. Will looked through the pages and was surprised to find a collection of 55 plays: Hamlet, Macbeth, Love’s Labours Lost, Love’s Labour’s Won, the titles went on and on. “This is our gift to you, Will Shake-Spear,” the captain beamed, “a collection of plays for you to stage with your theatre company. We have analyzed your simple language, and have created combinations of words to appeal to the primate brains of your species. The stories have been taken from among the most popular in your culture, but the language patterns we’ve created are more complex than anything your world has ever seen.”

“What am I supposed to tell people,” Will responded, “that space aliens gave me these plays?”

“No, you must say that you yourself wrote them.”

“What sane person could possibly believe that?”

“Nevertheless, you must claim these plays as your own, or risk being condemned as a lunatic.”

Just then, the ship was rocked by an explosion. The Klaxons had fired on the science vessel and the ship’s systems were failing fast. The captain rushed to the bridge, while Will Daring ran back to the containment section where he and his companion had been kept. There he found the raven-haired beauty Anne Hathaway. Her bodice had been ripped, exposing the tops of her voluptuous breasts. For a moment, Will found himself captivated by her stunning allure before snapping back to the matter at hand. “We’ve got to get out of here!”

The two humans ran to the emergency hatch, but there were no escape chambers. By now, the damaged ship had broken orbit and had descended into the atmosphere of the planet below. Will Daring recalled a drawing he had seen by Leonardo Da Vinci, created over a century earlier. “I have an idea!” he bellowed over the sound of explosions erupting across the ship. Grabbing some nearby cloth, he created a makeshift parachute, grabbed Anne Hathaway, and jumped out of the hatch.

As the two floated gently to their home planet below, Anne Hathaway looked at Will Daring like he was the only man in the world. He had always felt she was unapproachable to him, nine years older and so impossibly lovely. But now they were closer than they had ever been. The landing was rough, but the two were unhurt. Nothing could hurt them now.

The explosion of the starship turned the sky a bright orange, creating a majestic backdrop for the most passionate kiss either of them had ever known. “Oh darling!” moaned Anne Hathaway breathlessly. “It’s pronounced Daring,” Will responded calmly, looking down at the bulky leather portfolio still in his hands, “but from now on, baby, you can call me Shakespeare!”

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. This is a breathtaking collection of top-quality productions of each of Shakespeare’s plays, directed by Clive Brill and with original music by Dominique Le Gendre. The advantage of buying the set is that you will then have the option to listen to any title you choose. But if you’re not ready to make that kind of investment into the eclectic world of Shakespeare audio, I can give you my own top picks so you can get your feet wet before diving into the deep end of the pool.

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!

1. King Lear (BBC)

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.

2. As You Like It (Caedmon)

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.

3. Richard III (Cambridge)

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.

4. Julius Caesar (Arkangel)

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.

6. King John (Arkangel)

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.

7. Macbeth (Caedmon)

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.

8. Othello (Cambridge)

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.

9. Henry V (Cambridge)

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.

10. As You Like It (Arkangel)

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.

12. King Lear (Naxos)

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!

13. The Tempest (Naxos)

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.

15. Hamlet (Cambridge)

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.

17. Richard II (Arkangel)

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.

20. Twelfth Night (Cambridge)

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?

Okay, so I missed the riddle this week. I do apologize, but I’ve been constantly besieged by natural disasters of biblical proportions. Sort of.

I was actually in Virginia for the earthquake. I’ve spent the last week vacationing with my family, visiting Jamestown and Williamsburg and the like. On Tuesday, we were at Busch Gardens, and when the group split into different factions, I took the opportunity to set off on my own for a while. I went to go see the Pirates “4-D” movie. A “4-D” movie is like a 3-D movie, except they shake your seat and squirt water at you at appropriate moments in the film. It has nothing to do with the fourth dimension, but it’s fun all the same. At one point, the whole theatre shook from side to side, which I thought was pretty cool, but I later learned that I was actually at the epicenter of a 5.8-magnitude earthquake. It even kind of fit with what was going on in the movie, so I just enjoyed it as part of the show.

After I left the theatre, I ran into my nephew Ian (age 7), accompanied by Dave, a family friend. Dave told me that there had been some kind of earthquake, and that all of the rides were shut down. I assumed that this was a story Dave told Ian to get a break from the roller coasters, so I gave him a knowing smile and went along with the charade. It’s worth noting that, at this point, I had both felt the earthquake and had been told there was an earthquake, and still I did not know there had been an earthquake.

Pretty soon, however, it became hard for even me to stay in the dark, as reports of the unusual phenomenon spread rapidly. It stayed big news for a day or two, but was just as quickly overshadowed by news of an impending hurricane. Hurricane Irene was expected to sweep up the Eastern seaboard and hit New York City by Saturday night. I decided to cut my trip short a day and head back home a bit early. My train was delayed a bit because of flooding below Washington, D.C., but my trip was largely uneventful and I made it back to New York City in time to do some grocery shopping and put my earthly affairs in order.

As I settled in for a grocery-enhanced night of a Kill Point marathon sporadically interrupted by checking online weather maps, I learned of an impending Tornado Watch for New York City. Really?

Anyway, there was no tornado, and not even really a hurricane. Irene was downgraded to a tropical storm before it hit here, and even by that standard, it was pretty mild. I had no interruptions of power or Internet, and could only occasionally hear the rustling of wind outside my window. I did make it through the entire series of The Kill Point, which was about a hostage standoff in a bank, so that was pretty exciting, but that was about it. I can’t say I’m disappointed, but I’m not feeling all that relieved either.

Mostly, I’m disappointed that I missed a riddle, which usually means I’ve been neglecting the blog for too long. I think I’m about ready to return. This week, I survived earthquakes, hurricanes, floods, and tornadoes, so I’m feeling pretty unstoppable. That’s right, Mother Nature, if you want a piece of this, next time you best bring a FREAKIN’ VOLCANO.

Feel free to post relevant quotes from King Lear in the comments. The Shakespeare Teacher is back.