A hugely heartening story out of Detroit, where Sam White, artistic Director of Shakespeare in Detroit has with pluck and vision pushed forward her vision of Shakespeare as part of Detroit's revival. Taking cues from Jospeh Papp and his seminal work with the Public Theater in the 1970s, she has swooped in, staged performances in crumbling spaces, and now created a growing alliance with Aamir Farooqi, head of Banyan Investments. Read more here.
Mere weeks after the bizarre incident of being "job shamed", former Cosby actor Geoffrey Owens was spotted performing works of Shakespeare in Montclair, New Jersey. Shakespeare is Owens' first love. And we love that. Play on! More.
In yet another indicator of Shakespeare's influence and reach, a project to build a replica of Shakespeare's hometown is now underway. In addition to celebrating the life of the Bard, Sanweng (meaning "Three Masters") the town will highlight the works of Tang Xianzu, and Miguel de Cervantes. By happy (for us) coincidence, all three master poet/playwrights died the same year, 1616. More.
This is an absolutely fascinating story out of China. The Chinese government is cracking down on the incorrect use of standard words in the Chinese language — what we might term "wordplay". The putative cause is the potential for "cultural and linguistic chaos". Some observers see something darker, an attempt perhaps to limit political dissent through the clever use of language and puns. Shakespeare would be red in the face, had he read such things….
Harvard Professor Stephen Greenblatt's new book "Tyrant", is out, and has received another smart review. While leveling a few criticisms, reviewer Charles McNulty praises the book for deftly suggesting which of Shakespeare's plays best help inform our current political climate. There are some genuinely interesting insights, and one is reminded yet again of the sheer depth of Shakespeare's insights into the human condition, in this case, around the idea of how we are ruled, and what drives our rulers. Read the article to see where McNulty thinks Greenblatt got things right, and where he thinks Greenblatt got things wrong.
Film, TV star, singer, and entertainer Donald Glover, (stage name Childish Gambino) has put out a grim and troubling music video (This is America). What caught our attention was an article comparing the piece's multi layered messaging and overall complexity to Shakespeare, and the Bard's tendency to write on multiple levels about complex issues — graft, intolerance, cruelty amongst others. The article, from Heidi N. Moore writing for NBC news is well-written and thought provoking.
Beyond the references to Shakespeare, this video also reminds us of the different ways in which critics can make their points. Slate and The New Yorker choose writing (with embedded videos), while Art Insider chooses a deconstruction of the video with voice over and words and diagrams overlayed on the video. Both approaches work well, but Art Insider's approach seems to us slightly more effective overall. Judge for yourself!
Guardian columnist William Keegan deftly suggests that Shakespeare would have voted for England to stay in the European Union, largely on the basis of all the plays that Shakespeare admiringly set in Europe — chiefly, of course, Italy — Romeo and Juliet (Julite's balcony in modern day Verona pictured above), Othello, Merchant of Venice, to name just three. Of course, one could just as easily suggest that Shakespeare championed England as a standalone and defiant entity in a sea of European wars (The Henriad) — but on the day before his birthday, let's go with Keegan's view!
The classic "gotcha" Shakespeare question: "What is the Merchant of Venice's name?" — not, as many think, Shylock, but Antonio, which in itself indicates how Shylock has dominated our imagination about the meaning and nature of the play. But, as this interview with Howard Jacobson (talking here in 2016 about his book Shylock Is My Name) reveals, what we think about the play — and Shylock — is extremely hard to pin down. Which reveals, yet again, the genius of Shakespeare…
Shakespeare Magazine (now 13 issues old) works to bring all things Shakespeare to a broader audience. With varying degrees of success, they surface a number of issues surrounding Shakespeare's works. Another resource of possible interest to teachers, and here we highlight Amogha Sridhar's piece. We particularly like the image of a text, together with the annotation tools she uses to work on Shakespeare's texts - highlighters, pencil, eraser, and sharpener. All still necessary, even in an increasingly digital world.
Ian Doescher scored quite a hit several years ago by creating a Elizabethan parody of the Star Wars films (more or less every title tacking "etc" to the end of a word or two and giving it a Shakespearean language veneer). With six tomes under his belt, the next in the series is due out July 7, as announced by Star Wars website. Whatever its limitations in terms of introducing readers to Shakespeare's language, it does certainly convey the rhythm and affect of Shakespeare's work, and can surely only help for students who struggle to understand his language.
Almost none of Shakespeare's handwriting survives today — mainly his signature on various legal documents. But this edited script from a play that Shakespeare had a hand in but did not write — The Book of Sir Thomas More — contains some of his handwriting. And what he has to say in it, says something about what Shakespeare believed about the fate of refugees, and mobs that would treat them poorly. A fascinating piece from NPR.
This is a two year old summary video by the New York Times, but it is really good. It examines Shakespeare's pervasive influence throughout our high and low culture, and manages neither to sneer nor fawn in the process. Well worth three minutes, and a great primer for classroom discussion. It includes references to The Simpsons, Different Strokes, Star Wars, The Muppets, Sesame Street, Star Trek, Iron Man, A Fish Called Wanda, Die Hard, The Terminator, The Postman, Lion King, Empire, Sons of Anarchy, House of Cards, Gilligan's Island, and performers such as David Bowie, Beyoncé, Styx, and…Bugs Bunny?
An unpleasant yet enduring sentiment, here on the side of a Manhattan bus in March 2018, and of course generated by Shakespeare in Henry IV Part II. Yet another confirmation point of Shakespeare's enduring insight into human obsessions.
After the last few days of humorous posts, a more somber one to end the week. At many prisons across the United States, Shakespeare is used as a tool for educating inmates, and re-integrating them into communities. One of the older of these programs is Curt L. Tofteland's Shakespeare Behind Bars program in Kentucky, started in 1991. Their latest production: A Midsummer Night's Dream, a production which uniquely, requires theatergoers to undergo a background check and security clearance.
A great interview with Christopher Eccleston, an English actor perhaps best known for being the ninth doctor in the storied Dr. Who series. The interview has two great talking points — the fact that accents matter very little in performance (take note those who say that only the English can perform "true Shakespeare"), and also, now that it has been announced that the 13th Doctor Who will be a woman (Jodie Whittaker), that a time is coming when women can — and should — take on the great (traditionally male) roles in Shakespeare's plays. A very humane and thoughtful discussion. Eccleston will play Macbeth in a new RSC production opening in March.
Always beneath the surface with Shakespeare's plays: how do 21st Century teachers handy the sometimes bawdy and violent imagery and language in Shakespeare? In Western Australia, principal Ted Kosicki feels that certain texts — including Romeo and Juliet — need to be reviewed, and possibly removed from the curriculum. A tricky subject, and also proof again of the value Shakespeare provides, by exciting discussion and thought.
Another production of Julius Caesar, reflecting our growing preoccupation with demagoguery and the virtues and perils of republics and democracies gone awry. Ben Whishaw, Michelle Fairley, David Calder, and David Morrisey all put in excellent performances, according to Guardian critic Michael Billington. The play is at the Bridge Theatre, an the set design has audience members be part of the mob.
Always fun to track down a misquoted quote. Here, the offending (and never-written-by-Shakespeare) quote is: People usually are the happiest at home Writer Mark Fisher goes on to cite a real quote (from Henry V) which highlights how the initial sense of an Shakespearean phrase can often be the exact opposite of its actual meaning: "Men are merriest when they are from home", where "from" means "away", rather than "at".
Michael Axel, right, as Shagspeare, performs alongside Emilty Cady, as Judith, in "Equivocation," a play that imagines a
scenario in which Shakespeare has been commissioned as a government propagandist.
Bend, Oregon's 2nd Street Theater put on an original production, "Equivocation", examining whether playwrights should write about contemporary events, whether in polemical opposition, or as propagandists. An interesting fact that emerges from this review: Shakespeare and his contemporaries were forbidden from writing about current events in their works.
(Simón Prades for The Washington Post/For The Washington Post)
A good (if not slightly harsh) review of modern perspectives on Shakespeare. Are we too timid with our productions? Is "relevance" overblown"? More.
Stephan Wolfert rehearsing his one-man show, “Cry Havoc!”
SARA KRULWICH / THE NEW YORK TIMES
A closer look at how Shakespeare makes sense of war, to veterans and those who have lost friends in war.
A very positive review of a play that resonates in today's political environment. More.
The Guardian proposes that Leonard Cohen is to Bob Dylan, as John Donne was to Shakespeare. Discuss...More.
Isaac Butler, compares Lin-Manuel Miranda's Hamilton, with Shakespeare's Henry IV, part 1 -- (proper title: 1 Henry IV) in this complex but well reasoned piece for Slate. More.