From A Midsummer Night’s Dream:
A play there is, my lord, some ten words long,
Which is as brief as I have known a play;
But by ten words, my lord, it is too long,
Which makes it tedious.
Shift around the letters, and it becomes:
My mood? Vocal Roger Ebert had a symbiotic relationship with dry Gene Siskel, then shone solo.
If it was thumbs up or down, it was always kindly.
It’s been exciting to see Shakespeare so much in the news lately. The confirmation of the discovery King Richard the Third’s skeleton last week has thrust our beloved Bard back into the international spotlight. But just how relevant is Shakespeare to this discovery? How closely related is Shakespeare’s classic villain to the original owner of the bones found under the Leicester parking lot?
Shakespeare wrote that which we call History plays, but these are plays and not histories. Shakespeare often wrote about “real” people and events, but he always put his unique take on it. He could change any details that he wanted. Did you know that the real Hotspur was 23 years older than Prince Hal, even though the two men were portrayed as contemporaries in Shakespeare’s 1 Henry IV? That Rutland, killed as a small child in Shakespeare’s 3 Henry VI, was actually older than his brothers George and Richard? That there were two different men named Edmund Mortimer, conflated into a single character by Shakespeare? And obviously, no matter how historical his characters, we all understand that he certainly was willing to put words in their mouths.
None of this matters, of course. Saying that Shakespeare got it wrong misses the point entirely. Shakespeare’s intent was to create entertaining theatrical plays. And Richard III is one of the most enduring and popular works of art ever to spring from the human imagination. So, yeah, I’d say Shakespeare actually got it right, wouldn’t you? An archeological discovery can tell us about history, and this is a particularly exciting discovery at that, but it sheds no new light on Shakespeare’s work. We already knew that Shakespeare based his work on Tudor historians, and that he shared their bias towards the Tudor view of history.
So when we ask whether characters from Shakespeare are “real” or not, it may not be such a binary question. I would prefer instead to think of it as a spectrum. More specifically, I have created a seven-point scale to compare how real the characters from Shakespeare actually are.
Enjoy!
Even at the highest level of Shakespeare’s reality-based characters, there is still a lot of spin-doctoring going on. Shakespeare doesn’t just write about his country’s greatest heroes without a little glorification. But the stories Shakespeare tells about characters at Level Seven are fairly consistent with their historical accounts. Shakespeare himself must have been at least somewhat impressed with his own account of the life of Henry VIII when he originally gave his play the title All is True.
I wanted to make a distinction between historical figures that Shakespeare wrote about from relatively recent time periods, and those from antiquity. There are numerous historical accounts of the lives of the ancient Greek and Roman leaders, so Shakespeare was actually writing from sources, but there is only so much faith that we can put in them. The primary difference between Level Six and Level Seven is the amount of time that has passed since the historical figures lived.
Here we can put the characters that Shakespeare had a political reason to vilify. We see a version of history, but it’s a version that’s unapologetically slanted in the direction that Shakespeare’s audiences or benefactors would have appreciated most. Shakespeare is still writing mostly from sources, but the sources may themselves be politically biased, or Shakespeare just felt free to add his own spin to events as he wanted to portray them. The character of Richard III can go here.
There really was a historical Macbeth, but it’s doubtful he did many of the things attributed to him by either Shakespeare or history. Sure, Shakespeare was writing from a historical source, and had political reasons to vilify Macbeth, but the story is so far divorced from reality that we really need a new category to describe it. Level Four is for a character who really lived, but isn’t necessarily portrayed doing the things the original historical figure would actually have done.
Did any of these people really exist? And if they did, are the stories about them true? Probably not. But the stories were passed down from generation to generation, either in oral traditions or written texts, as though they were true. We can’t prove that there wasn’t some actual human being in the dark backward and abysm of time that inspired the legend. Level Three quantifies the precise amount of benefit-of-the-doubt I’m willing to give to that possibility.
These are fictional characters, but audiences at the time would have understood the public figures they were based on. Maybe. If Polonius was based on William Cecil, Lord Burghley, then he could be placed one step above a completely fictional character. This is Level Two. Shakespeare expressly denied that Falstaff was meant to be John Oldcastle to satisfy one of Oldcastle’s noble descendants. But what was Shakespeare’s original name for the character Falstaff? It was John Oldcastle.
These are purely fictional characters, invented by Shakespeare or his literary sources. They are not real people. They are not based on real people. We will not be finding their bones under any parking lots. We are not worried about pleasing their descendants. If Shakespeare had simply confined himself to his own considerable imagination, we would still have an impressive panoply of Shakespearean characters to entertain us. But the conversations and controversies surrounding his plays would not be nearly as interesting.
This is the 18th in a series of pop-music parodies for Shakespeare fans.
Enjoy!
Titania
sung to the tune of “Titanium”(With apologies to David Guetta, Sia, and the fairy Queen…)
You make demands,
But you have here disturbed our sport.
You’re simply requesting too much.
Our argument has caused the seasons to alter.
You want the boy, but I say no.I’m powerful, nothing to prove,
Trip away, trip away.
The fairy Queen, of legend’s fame,
Trip away, trip away.
The enchanted wood is where I rule,
I am Titania!
The enchanted wood is where I rule,
I am Titania!Threaten me,
But it’s you who’ll have to suffer all.
I’ve found a new love.
Voice of gold, mind of steel and head of beast,
He’s braying loud, not saying much.I’m powerful, nothing to prove,
Trip away, trip away.
The fairy Queen, of legend’s fame,
Trip away, trip away.
The enchanted wood is where I rule,
I am Titania!
The enchanted wood is where I rule,
I am Titania!
I am Titania!I am Titania!
My love, is this right?
My eyes now loathe his sight.
Oberon, what have you done?The enchanted wood is where I rule,
I am Titania!
The enchanted wood is where I rule,
I am Titania!
The enchanted wood is where I rule,
I am Titania!I am Titania!
Don’t worry if you don’t know what a retrochronism is. I just made the word up. But feel free to throw it around at the dinner table and the water cooler; it’s a thing now.
Let’s say an author from an earlier time period uses a term in a sense that’s appropriate to that author’s time period. Then, the author dies and the language evolves. New technologies are invented. Culture shifts. Later readers or audiences then interpret the term as used by the author through the lens of their own time period, and incorrectly think it means something entirely different from what the author could have possibly intended. That’s a retrochronism!
This is not to be confused with an anachronism, a term generally used to describe instances where an author uses something from his own time in a work that is set before that thing would have been possible or appropriate. Shakespeare has many such anachronisms, such as the clock striking in Julius Caesar. But a retrochronism is different. It isn’t a mistake by the author; it’s an accident of history.
We’ve had 400 years now to develop a few good examples for Shakespeare. The quintessential example is from Romeo and Juliet:
JULIET: O Romeo, Romeo! wherefore art thou Romeo?
Most readers of this blog probably know that “wherefore” means “why” and not “where.” But this is far from obvious, and many newcomers to Shakespeare, entering his world through this play, assume she’s searching for him from her balcony. Who says “wherefore” anymore?
Another common example can be found in Hamlet:
HAMLET: Madam, how like you this play?
QUEEN: The lady doth protest too much, methinks.
HAMLET: O! but she’ll keep her word.
In Shakespeare’s time, “protest” meant to promise. But today we think of it in the opposite sense of a denial. So when people quote the line, they often mean that a person is denying something so much that it must be true. But Gertrude meant that the lady was promising so much that it must be false!
Those two examples are probably the most well known, but below are my ten favorites, culled from years of introducing kids to Shakespeare and from my own journey of working through the language.
TEN. Was Doll Tearsheet a One-Percenter?
DOLL: A captain! God’s light, these villains will make the word captain as odious as the word ‘occupy,’ which was an excellent good word before it was ill sorted: therefore captains had need look to it.
Playgoers who have attended productions of Henry IV, Part Two in the past year must have been taken aback by this statement, possibly even suspecting editorial interference for political purposes.
But in Shakespeare’s time, the word “occupy” was slang for having sex with someone. It’s enough to make you wonder what was really going on at Zuccotti Park after hours.
NINE. Did the Witches prophesy Kitty Hawk?
FIRST WITCH: Here I have a pilot’s thumb,
Wrack’d as homeward he did come.
Most modern audiences are familiar with the word “pilot” as meaning someone who flies an airplane, obviously not what Shakespeare meant in Macbeth.
The word “pilot” meant (and still means) someone who steers a ship.
EIGHT. Was Lord Capulet a pimp?
CAPULET: What noise is this? Give me my long sword, ho!
Here is one that comes up often when working with kids; this example from Romeo and Juliet is as good as any. Shakespeare had a lot of words for “prostitute,” but “ho” was not among them.
If you bring your voice up on the word, it’s an antiquated expression of zeal. If you bring it down, it’s a contemporary form of derisive address. Voices up, please.
SEVEN. Was Bottom a Lea Michele fan?
BOTTOM: Nay, I can gleek upon occasion.
Folks who are “Glee Geeks” might enjoy imagining Nick Bottom from A Midsummer Night’s Dream as one of them. He admitted he can “gleek” after all.
Sure, I’m being a little silly with this one, but why not? “Gleek” means to joke around.
SIX. Did Olivia have some work done?
OLIVIA: We will draw the curtain and show you the picture. [Unveiling.] Look you, sir, such a one I was as this present: is’t not well done?
VIOLA: Excellently done, if God did all.
OLIVIA: ’Tis in grain, sir; ’twill endure wind and weather.
Viola’s quip “if God did all” can set a Twelfth Night audience roaring if delivered just so. Does Viola suspect a little Nip/Tuck help is behind Olivia’s epic beauty?
Don’t start fitting Dr. 90210 for a doublet and hose just yet. Viola is merely making a reference to cosmetics.
FIVE. Was Hamlet a fan of Wayne’s World?
HAMLET: I did love thee once.
OPHELIA: Indeed, my lord, you made me believe so.
HAMLET: You should not have believed me; for virtue cannot so inoculate our old stock but we shall relish of it: I loved you not.
Again, this one came from the kids, though it was more common back in the ’90’s, when Wayne and Garth had more of an effect on the language.
Think of the line from Hamlet (and similar lines throughout the canon) as being delivered like this: “I loved you… NOT!” Yeah, they really used to do that… I kid you not.
FOUR. Was Feste creating a hostile work environment?
MARIA: Nay, either tell me where thou hast been, or I will not open my lips so wide as a bristle may enter in way of thy excuse. My lady will hang thee for thy absence.
CLOWN: Let her hang me: he that is well hanged in this world needs to fear no colours.
MARIA: Make that good.
CLOWN: He shall see none to fear.
Well hanged? Oh, no he didn’t!
Well, no he didn’t. It’s usually a safe bet to assume that any possible sexual innuendo was intended by Shakespeare, but Twelfth Night pre-dates the earliest known uses of the expression “well hung” to refer to a generous anatomical endowment. Plus, in the next line, Feste makes it clear he’s literally referring to a hanging. If the sexual pun were intended, why would Shakespeare have backed off the joke?
THREE. Did Ariel suffer from low self-esteem?
ARIEL: Where the bee sucks, there suck I.
Ouch. It’s not hard to convince high-school students that Shakespeare’s characters do, in fact, suck. But would Shakespeare have said so in The Tempest?
No. Bees, you see… eh, go ask your father.
TWO. Did the Porter invent a new art form?
PORTER: Knock, knock! Who’s there i’ the other devil’s name! Faith, here’s an equivocator, that could swear in both the scales against either scale; who committed treason enough for God’s sake, yet could not equivocate to heaven: O! come in, equivocator.
Rather than answering the knocking at the door, the Porter from Macbeth imagines himself as the Porter at the gates of Hell, and does some schtick about the various characters he might meet in that position. The expression “Knock Knock, Who’s there” is used to introduce new characters in his standup routine.
But if you’re expecting him to answer “Ophelia,” you’re going to have a long wait. The Knock-Knock joke as we know it is a twentieth-century creation.
ONE. Is Dromio of Syracuse a pothead?
DROMIO S: I am transformed, master, am not I?
ANTIPHOLOUS S: I think thou art, in mind, and so am I.
DROMIO S: Nay, master, both in mind and in my shape.
ANTIPHOLOUS S: Thou hast thine own form.
DROMIO S: No, I am an ape.
LUCIANA: If thou art chang’d to aught, ’tis to an ass.
DROMIO S: ’Tis true; she rides me and I long for grass.
Zing! Dromio’s jonesing for some weed! The Comedy of Errors is a drug play!
But not really. Dromio just longs for the freedom of greener pastures. Grass means grass, baby. However, the “she rides me” part probably does mean what you think it means.
So those are my ten favorite retrochronisms from Shakespeare. Did I miss any? Feel free to add to the list!
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…
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?
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.
In the episode “Bringing Up Buster,” George-Michael, Maeby, and Steve Holt get involved with a Shakespeare play, which Tobias ends up directing. The cast list is posted below a sign that says Much Ado About Nothing, and the character names are Beatrice and Benedick, so that would seem to be that. But the lines in the play are from As You Like It. And is that kid on stage behind Maeby dressed like a donkey?
Rex means king in Latin. The letter X following the name of a king, as in King Louis X, is the Roman numeral for 10. So, for example, King Louis X of France is the tenth King of France named Louis. It should be pronounced “the Tenth.”
In the case of Malcolm X, it would be a major faux pas to say “Malcolm the Tenth.” Malcolm Little chose to replace his last name with the letter X to represent the lost names of African families taken to America in slavery.
Great question! I’ll leave it as an exercise for the reader. The four letters are “RSTU” and they appear consecutively in a word that relates to live theatre. Does anyone know what it is?
UPDATE: The answer can be found in the comments for this post.
Shakespeare was born in the latter half of the 16th century, a century largely shaped by the Protestant Reformation, which affected each country differently. Scotland broke with the Pope in 1560. (For reference, Shakespeare was born in 1564, and King James in 1566.) The movement was led by John Knox, who studied with John Calvin in Geneva, and then returned to Scotland. The Scottish Reformation led to the foundation of the Presbyterian Church.
James was raised in the Church of Scotland, but came to feel that Presbyterianism was incompatible with monarchy. His reforms took hold during, and beyond the life of Shakespeare. For more information about the Church of Scotland, see this list of resources.
Yes, at least the later Tudors. Shakespeare lived in Tudor England for the first part of his life, and would have spoken roughly the same version of English as the royal family, setting aside allowances for class. But Shakespeare did not always write the way he spoke. Much of the language in his plays and poems is heightened, not trying to capture the way that people would have sounded, but rather to use language to express internal thoughts and emotions. It’s something he was very good at doing, needless to say.
It’s worth noting that the King James Bible was also published in Shakespeare’s lifetime (1611), which is why the language is so similar: “Thou shalt not…” and so on. The Bible was also translated into heightened language, though, and should not be considered an authentic representation of how people would have spoken at the time.
I like to do Forum Theatre. Have students devise a scene illustrating a problem that is prevalent among them. There should be a clear protagonist who wants something but is prevented from getting it because of the problem. They perform the scene. Then they perform it again, but any member of the audience may interrupt the scene by yelling out “Stop!” at any time. At this point, the intervening audience member (spect-actor) replaces the protagonist and tries a new strategy. The other actors improvise around the new protagonist. This is a great way to workshop constructive solutions to pressing problems, to begin a process of rehearsing to make change, and to learn a lot about your students!
I leave the task of responding to the remaining search terms to my readers:
who did shakespeare admire
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why francis bacon couldn’t have written shakespeare
king james badmouthed shakespeare
shakespeare games for five year olds ideas
how to make king lear fun
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.
Probably not. Antony and Cleopatra did have three children, two boys and a girl. Cleopatra also had a child, Caesarion, from Julius Caesar. (“He plough’d her, and she cropp’d.” See how classy you sound when you quote Shakespeare?) Antony also had children from four of his wives.
After Octavius Caesar conquered Egypt (the events depicted in Shakespeare’s Antony & Cleopatra) he executed Caesarion, and gave the three children of Antony and Cleopatra to his sister Octavia. Remember (from the play) that Octavia was Antony’s last wife, so she’s now raising the children of her husband and his mistress. Little is known of the two boys, and if they had lived to adulthood, they would probably have been mentioned in sources of the time because of their parentage. It is possible they may have secretly been killed to avoid a later challenge to Octavius. But it’s also possible that they lived on and had children of their own. There’s no way to know.
The daughter of Antony and Cleopatra, named Cleopatra Selene, was married to an African king, and they had – at least – great grandchildren. Zenobia, a third century Syrian queen, claimed to be descended from this line. So it’s certainly possible that the descendants of Antony and Cleopatra are among us today. And if so, the opportunities to multiply between the 1st century and the 15th century would be massive. Therefore, we cannot rule out definitively that the Tudors are descended from Antony and Cleopatra. But could they know this for sure, let alone trace it? No. Those 1400 years weren’t exactly known for their record keeping, and there is too much motivation for people to invent a famous lineage along the way.
Margaret Tudor was Henry VIII’s older sister. She married James IV of Scotland in 1503, and a hundred years later, her great-grandson would become King of England (after Henry VIII’s line died out).
However, if you are asking about the character played by Gabrielle Anwar in The Tudors, you’re really looking for younger sister Mary Tudor. Another Mary would have probably been too confusing, so they conflated the two women into one character. Mary Tudor was the one who married an aging king only to be widowed three months later. Mary was the one who married Charles Brandon. I’ve only seen the first season of the show, so I don’t know what the character would later become, but in the first season, Margaret’s story is that of Mary Tudor.
Shakespeare had a lot of plots that centered around practical jokes. Often, they would blur the line between harmless prank and vicious revenge, but you can’t make an omelette without breaking a few eggs, am I right? Without any further ado, then, is my Top Ten list of Shakespearean pranks. Drum roll, please!
10. The Merry Wives of Windsor – I’m not a fan of this play, and I’m loathe to include it on the list of Top Ten anything. But a list of Shakespearean pranks would be incomplete without it, so here it is at #10. Suffice it to say, there are a number of pranks in this play. I’d list them, but I can’t be bothered.
9. Henry IV, Part Two – Hal and Poins disguise themselves as drawers and listen in on Falstaff’s bragging. They reveal themselves, but not before Falstaff has a chance to badmouth the Prince behind his back. The fun comes when Falstaff tries to talk his way out of it.
8. Measure for Measure – The “bed trick” and the “head trick” are serious deceptions and can hardly be considered a prank. But what about what I like to call the “fled trick”? The Duke pretends to leave Vienna, but instead stays back disguised as a friar. I guess the joke’s on Angelo. Busted!
7. Twelfth Night – Malvolio, imprisoned in darkness, recieves a visit from Sir Topas the curate. Actually, it’s Feste the jester disguising his voice. Playing both parts, Feste drives the supposed madman one step closer to real madness.
6. Much Ado about Nothing – Beatrice and Benedick’s merry war takes a surprising turn when their friends allow them to overhear conversations to make each believe the other is in love. The prank becomes self-fulfilling. “Some Cupid kills with arrows, some with traps.”
5. Henry IV, Part One – Hal and Poins pretend to go along with Falstaff’s plan to rob some travellers. But they enter in disguise after the fact and rob the robbers! They reveal their prank after Falstaff has been boasting about his encounter with the unknown thieves.
4. The Tempest – Prospero uses his magic to get revenge on those who have wronged him. But the havoc only lasts the afternoon and there’s no real damage done. The whole play is one big prank.
3. A Midsummer Night’s Dream – Puck changes Bottom into an ass. And Titania, having been spiked with a love potion by Oberon, falls in love with the creature. Hilarity ensues.
2. Twelfth Night – Maria forges a letter from Olivia to Malvolio, hinting that she is in love with him. Toby, Andrew, and Fabian spy on Malvolio as he reads the letter, which tells him to come to her in an outlandish manner… and he does.
1. Othello – Iago tricks Othello into believing that his wife has been unfaithful, so he kills her. Not really a prank, you say? Check out this video.
There are a lot of good monologues for men from King Lear. To start with, you can find monologues from Lear here, from Edmund here, and Edgar here. The female characters in the play have some great speeches, but nothing I would particularly pull out as a monologue.
You may be looking for Shakespeare: The Animated Tales, a series of half-hour condensed animated versions of Shakespeare plays. But I’ve also done a lot of work with students creating animated versions of Macbeth, As You Like It, and The Tempest. And since this is Shakespeare Teacher, I’ll offer some information about how to do it.
When I did these animation projects, the students did the artwork in HyperStudio, they recorded the sound in SoundEffects, and they aligned the two in iMovie. It was frame-by-frame, which is time consuming, but HyperStudio had a card-and-stack interface that made it go much more quickly. That was quite a few years ago, though, and I do mostly video projects now. I don’t know if HyperStudio is even still around, and people use Audacity for sound recordings today. iMovie is still the best game in town if you want to coordinate frame animation.
I know a lot of people who like to use the website Scratch for student animations. The one problem with Scratch is that you can only view the animations from the Scratch website. You cannot download the movie file and post it to YouTube.
I’ve heard, particularly from Shakespeare teachers, a lot of enthusiasm surrounding Kar2ouche. I looked at it once, a long time ago, and I dismissed it because there are a lot of pre-made templates, and I wanted my students to visually interpret the characters themselves. But time being a factor, I would probably recommend it, and I’ve seen some Shakespeare projects that look really sharp. Every so often, someone asks me if I’ve heard of Kar2ouche.
Of course, if your kids are into Second Life, there has been some animated Shakespeare coming from that quarter as well. There is also stop motion photography, which can be done with a digital camera, iMovie, and a lot of patience.
I can interpret this in four ways:
1. Was Queen Elizabeth the illegitimate child of Shakespeare?
2. Was Queen Elizabeth’s illegitimate child Shakespeare?
3. Did Queen Elizabeth’s illegitimate child actually write the plays of Shakespeare?
4. Was Queen Elizabeth an illegitimate child according to Shakespeare?
Elizabeth was older than Shakespeare, so #1 is a clear No. I don’t know of any illegitimate children of Elizabeth. This seems to me to be something easier for a king to pull off than a queen. If she had gone through a pregnancy, I doubt she’d have kept the nickname “the Virgin Queen” for very long. So we can answer a No for #2 and #3 as well.
As for whether Elizabeth herself was illegitimate, that’s a fair question. It all depends on how legitimate you consider the annulment of Henry VIII and his first wife. But Shakespeare certainly wouldn’t have painted her as illegitimate. When she was alive, he wrote plays that glorified her ancestors, and long after she died, his play Henry VIII treated her birth as a moment of great hope for the future of England.
So I’m not sure what you’re asking, but the answer is probably No.
I leave the task of responding to the remaining search terms to my readers:
shakespeare reading list
headline tell us that macbeth saves Scotland
theme of religion in shakespeare’s “as you like it”
what inspired shakespeare to write king lear
how people were killed when shakespear was alive
madrid in april 2010 literature teachers
I subscribe to a service called “SiteMeter” which allows me to see a limited amount of information about my visitors. One thing that I can see is if someone finds my site via a Google search, and what they were searching for.
It’s been a while, but every now and then I check in on what searches people have done to find themselves at Shakespeare Teacher, and to respond to those search terms in the name of fun and public service.
In celebration of the fact that I’m moving the Googleplex to Sundays, I’m going to double my usual 6-for-me/6-for-you format and give you 12 of each. Full disclosure: I actually started this post some time ago. All of the following 24 searches did bring people to this site in the same week; it just wasn’t this past week.
Enjoy!
I kept getting hits for this search, and couldn’t for the life of me figure out what people were looking for. Then, I realized that they were searching for this TED lecture on how schools kill creativity, given by Sir Ken Robinson in 2006. It’s almost 20 minutes long, but well worth watching. I should have posted this a long time ago.
I think they were looking for the actual psychological phenomenon, and not my analysis of a sitcom. But this post now ranks fourth in this particular Google search. The Internet is a funny place.
Shakespeare’s take on George III would have been well worth the staging. He probably would have also had a go at William III and the Glorious Revolution. We’d probably still be staging the famous Battle of the Boyne scene and debating whether or not Shakespeare was a secret Jacobite.
The two monarchs were Elizabeth I and James I. I’m not really sure what the rest of your question was going to be.
Shakespeare lived between two periods of severe religious strife. The mid-16th century was marked by radical shifts in English religious life described in greater detail here. After Shakespeare’s death, growing religious tension between Catholics and Protestants would lead to civil war and the execution of King Charles I. Compared to these two periods of violence, Shakespeare’s England was relatively stable religiously, though obviously there was still some unrest.
People have looked to Shakespeare’s plays for clues of where he fell on the question, but there’s no concrete evidence either way. Most of his plays are set either before the Protestant Reformation or in Northern Italy (which was solidly Catholic at the time) so Shakespeare – seemingly by design – didn’t have to deal with the religious issue much. One notable exception is Measure for Measure, which takes place in Vienna. If you would like to read Shakespeare’s scenes depicting a Protestant official debating the death penalty with a Catholic novice, you will find them here and here.
King Lear takes place in pre-Christian Britain. The characters make various references to Roman gods such as Jupiter and Apollo.
Queen Elizabeth died in 1603, and Shakespeare had spent much of his career writing popular plays about her famous ancestors. When James I ascended the throne, Shakespeare wrote a play about his ancestors to honor the new king.
Note that the bloodthirsty Macbeth is not one of these ancestors. Rather, the noble Duncan, Malcolm, Siward, Banquo, and Fleance are the ancestors of James depicted in the play. Oh yeah, and the first seven of the show of eight kings. See below.
Not good. Concerned about a prophecy that says that Banquo’s decendants will be kings, Macbeth demands to know whether all that he has done has been for the benefit of another’s line. The witches show him eight kings, and Banquo’s ghost who points to them as his. These eight kings correspond with the eight actual Stuart kings of Scotland. The eighth king is James himself.
Well, I suppose the conventional answers are Romeo and Juliet and A Midsummer Night’s Dream. But I’ve had some success with Othello and Cymbeline which aren’t exactly the first plays that come to mind when I think of the term “age appropriate.” If you can find a way to help students make it their own, the experience will encourage them to appreciate Shakespeare, no matter which play you choose. Go with a selection that you’re passionate about, and maybe your enthusiasm will be infectious. Or, if you’re really daring, describe a few of the plays to the students, and let them choose which one they want to work with.
Ah, Jack Cade – one of Shakespeare’s most under-recognized comic characters. Propped up as a claimant to the throne, the rough-hewn Cade promises to kill all the lawyers and ban literacy. The famous scene is here and you can find Cade monologues here and here.
She’s pretty clearly evil, and I’ve never seen her played any other way, but that’s as far as I can go. I’m sure someone has played her otherwise. Does anyone have another experience, or an idea of an alternate interpretation?
This makes me very curious. Were they looking for my Tempest lipogram? Or did they have another reason to search for this? It seems pretty specific to me. Hmmm.
I leave the task of responding to the remaining search terms to my readers:
why teach shakespeare
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what creative artists did shakespeare admire?
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I was telling someone of my list of favorite scenes this evening, and it made me think of a reading that I was planning to have several years ago. Instead of choosing one play, I would edit together a collection of the most popular scenes for us to read. Due to scheduling problems, we weren’t able to have the reading, but I did send out an invitation. The invitation was written largely in iambic dimeter (!), and I thought the readers of this site might appreciate it.
Enjoy!
A witches’ brew. A fiery shrew. A knavish sprite. A portly knight. A maid’s disguise. A Jew’s surprise. A bastard’s plan. Each age of man. A paper crown. A motley clown. A nightmare haunt. This John of Gaunt. A guarded door. A jealous Moor. A castaway. St. Crispin’s Day.
A eulogy. A balcony.
The death of kings.
And other things…
It’s the very best of all the scenes, speeches, and sonnets from Shakespeare, hand-picked and edited by yours truly. Be there … or not to be there.
