With the holidays approaching, why not give your kids the gift of learning Shakespeare in a low-key, no-pressure scenario? I have classes on Shakespeare’s life, Romeo and Juliet, and my celebrated Stage Combat class! Sign up now for all the fun on Outschool.com!
Shakespeare and Star Wars
Class Description: Using self-paced online activities, your child(ren) will compare the plot and characters of Star Wars to Shakespeare’s plays. We will also discuss Shakespeare’s writing by looking at “William Shakespeare’s Star Wars” by Ian Doescher.
Romeo and Juliet Murder Mystery
Course Description: A flexible schedule class that teaches kids the plot and characters of “Romeo and Juliet,” in the context of a detective story where you solve the mystery of the young lovers’ deaths.
Course Descriptions
How to Write Like Shakespeare: Learn the basics of iambic pentameter, sonnet form, and Shakespeare’s dramatic structure, and practice writing Shakespearean speeches.
So, why Ghostbusters? Well, as William Shakespeare’s Star Wars has shown, it’s not only fun to adapt popular stories into Shakespearean parodies, it can also be educational. I knew I wanted to do a short play for my school’s fall festival, but I didn’t think to do “Ghostbusters” until I saw the final joke in the Simpson’s parody of Hamlet, where Homer says: “Son, [Hamlet] is not only a great play, but also became a great movie, called Ghostbusters!”
This joke got me thinking- Hamlet has a comic scene where the prince and his two friends are running around the stage away from a ghost, one that refuses to speak to them and then terrifies them. This reminds me of the moment where the ghost of the librarian shushes the heroes, and becomes a hideous creature:
The librarian in Ghostbusters is similar to the Ghost of Hamlet’s Father.
From this realization. I took it as a personal challenge to adapt Ghostbusters into a one-act stage play with as much Shakespearean dialogue as possible.
My Process
Re-writing the script of a movie into a Shakespeare text required me to overhaul the story of Ghostbusters, as well as retrofitting Shakespearean lines and speeches from Hamlet, Macbeth, Henry IV & Henry V. I knew I wanted to freely cut-and-paste from Shakespeare, as if he’d written the original Ghostbusters. The result is a sort of stitched together blanket of Shakespeare lines, lines adapted from Ghostbusters, and some lines I created myself.
The Outline
Like I said, I kept the story limited to how the four Ghostbusters learn that ghosts are real, become professional ghost catchers, and then receive a call from a damsel in distress (Ms. Dana Barrett), who allows them to become heroes by defeating the ghost that has possessed her. I also decided to use the commercial in the movie as a framing device:
In my version, the Ghostbusters start by doing a commercial that then becomes a flashback where the heroes recap everything that has happened to them over the past week. I then ended the play by joking referring to the play as “A very long commercial.”
Scenes I Included/ Scenes I Cut
I only had 30 minutes allocated for my show, so I knew I’d have to pare down the story to its bare bones. This meant I had to eliminate a lot of subplots and characters and condense several scenes. As much as I love Walter Peck, Dean Jaeger, Louis Tully, Janine Melnitz, and the guy who gets electrocuted, they are not absolutely essential to the plot, so I cut them from my version. I also combined the characters of Dana and Gozer, eliminating the two terror dogs and limiting the antagonists to Gozer and the Stay Pufft Marshmallow Man. So I watched the film a few times, and created an outline of just 7 scenes.
Character Models
One thing I’ve said again and again is that Shakespeare’s characters are all based on archetypes that we see everywhere throughout literature, theater, and yes, movies. While I was watching Ghostbusters, I tried to find the Shakespearean archetypes that match the best with the characters in the movie:
Ray Stantz- Hamlet from Hamlet– Ray is a bookish man who is obsessed with death and with the occult, which makes him very much like the scholarly Prince Hamlet. He’s also a man on a mission to try and understand the supernatural and help keep it from destroying our world. Dr. Venkman describes him as “The heart of the Ghostbusters”, and that humorous heart gets him into trouble sometimes.
Egon Spangler- Horatio from Hamlet If Ray is the heart of the team, Egon is the brain. He is the no-nonsense scientist who provides the team with data and equipment to help them fight ghosts effectively, much like how Horatio reports to Hamlet that his father’s ghost has returned from the grave.
Dr. Venkman– Sir John Falstaff/ King Henry V
Dana Barret- Ophelia from Hamlet
Gozer– Hecate from Macbeth
The Stay Pufft Marshmallow Man- Snug the Joiner from A Midsummer Night’s Dream
Sneak Peak
Here’s one of the scenes I wrote, with the original scene for context
[The ghostbusters climb the stairway to the penthouse, where Gozer is sitting in a cloud. They have been going for a while and are clearly tired]. Venkman: Though I have not known fair Dana long, I know she must be a virtuous maid. Ascend this penthouse tower and let’s rescue she! Like to the Knights of ancient chivalry! Egon: These apparitions whizzing in the air Give so much light that I may read by them. [They reach the top and behold Gozer] Ray: I am resolved to speak to Gozer. This is the latest parle we will admit. Gozer: Art thou a god? Ray: Nay. Gozer: Then perish, half-man! Winston: Enough Ray of thy diplomacy! Speak, thou proton pack for me! [He fires, then the rest join in] Gozer disappears Venkman: The sky hath bubbles as the water hath, and she be one of them! Gozer [in Voice Over]: Sub creatures! Hark! Tis time! Pick the Destructor’s form Be it a Goblin damned or angel bright! Tornado or a earthy bright Or greatest Monkey with an appetite! Winson: Our thoughts contain the form that seals our doom? Then make them blank as a new-made room! [They all gesture to their heads as if pushing thoughts out] Gozer: Thy choice is made. Prepare to meet thy doom! Venkman: Nay! I chose nothing Winston: Nor I! Egon: Nor I [Pause] All: Ray? Ray: Twas not my fault! It popped into my mind Venkman: What? What hast popped in? Egon: LOOOK!!!
I’m beyond excited that The Deleclrte Theater is continuing their tradition of producing high-quality, free Shakespeare in the Park, and then giving everyone the chance to see it via streaming over PBS.
This summer’s show is Twelfth Night, my favorite Shakespearean comedy, with an all-star cast
I’m so excited to see Peter Dinklage as Malvolio, one of my favorite characters in Shakespeare, and one that I have played myself. I’m also very interested in Sandra Oh’s interpretation of Olivia. She has proven herself in both dramatic and comic roles, which works well for Olivia, a character who starts out in mourning and ends up madly in love.
The performance I am the most excited about, though, is Lupita N’ongo as Viola. I’ve said before that Viola is one of the greatest characters in all of Shakespeare, so I can’t wait to see her portrayed by Lupita N’ongo, an actress I greatly admire. I loved her performances in Avengers Endgame, Us, and my whole family adored her excellent voice work in The Wild Robot. She has simultaneously a childlike enthusiasm, and a calm and stoicism that I’m sure will translate excellently for Viola, who survives a shipwreck and losing her brother (she thinks) through courage and humor.
Hopefully, I can stream this program soon, and give you a full review. In the meantime, enjoy my past posts and videos about Twelfth Night
Kenneth Branaugh as Henry V Laurence Oliver as Henry V
The Characters
Katharine of Valois
King Henry V
King Henry has just won a decisive victory at the Battle of Agincourt. He is now claiming the crown of France, and Katherine’s hand in marriage. Though he’s proven himself an able soldier and a wise king, he repeatedly stumbles when trying to win Katherine’s heart.
The Text:
Henry V: Fair Katharine, and most fair, Will you agree to teach a soldier terms Such as will enter at a lady’s ear And plead his love-suit to her gentle heart?
Katharine: Your majesty shall mock at me; I cannot speak your England.
Henry V: O fair Katharine, if you will love me soundly with your French heart, I will be glad to hear you confess it brokenly with your English tongue. Do you like me, Kate?
Katharine: Pardonnez-moi, I cannot tell vat is ‘like me.’
Henry V: An angel is like you, Kate, and you are like an angel.
Katharine: O bon Dieu! les langues des hommes sont pleines de tromperies.
Henry V: What say you, fair one? that the tongues of men are full of deceits?
Katherine: Oui, dat de tongues of de mans is be full of deceits:
Henry V: Kate, my wooing is fit for thy understanding: I am glad thou canst speak no better English; for, if thou couldst, thou wouldst find me such a plain king that thou wouldst think I had sold my farm to buy my crown. I know no ways to mince it in love, but directly to say ‘I love you:’ I have no strength in measure, yet a reasonable measure in strength. If I could win a lady at leap-frog, or by vaulting into my saddle with my armour on my back, I should quickly leap into a wife. I speak to thee plain soldier: If thou canst love me for this, take me: take me; and take me, take a soldier; take a soldier, take a king. And what sayest thou then to my love? speak, my fair, and fairly, I pray thee.
Katharine: Is it possible dat I sould love de enemy of France?
Henry V: No; it is not possible you should love the enemy of France, Kate: but, in loving me, you should love the friend of France; for I love France so well that I will not part with a village of it; I will have it all mine: and, Kate, when France is mine and I am yours, then yours is France and you are mine.
Katharine: I cannot tell vat is dat.
Henry V: No, Kate? I will tell thee in French; Je quand sur le possession de France, et quand vous avez le possession de moi,—let me see, what then? Saint Denis be my speed!—donc votre est France et vous etes mienne. It is as easy for me, Kate, to conquer the kingdom as to speak so much more French: I shall never move thee in French, unless it be to laugh at me!
Katharine: Sauf votre honneur, le Francois que vous parlez, il est meilleur que l’Anglois lequel je parle.
Henry V: No, faith, is’t not, Kate: But, Kate, dost thou understand thus much English: canst thou love me?
Katharine: I cannot tell.
Henry V: How answer you, la plus belle Katharine du monde, mon tres cher et devin deesse?
Katharine: Your majestee ave fausse French enough to deceive de most sage demoiselle dat is en France.
Henry V: Now, fie upon my false French! By mine honour, in true English, I love thee, Kate: by which honour I dare not swear thou lovest me; yet my blood begins to flatter me that thou dost, Put off your maiden blushes; avouch the thoughts of your heart with the looks of an empress; take me by the hand, and say ‘Harry of England I am thine:’ I will tell thee ‘England is thine, Ireland is thine, France is thine, and Harry Plantagenet is thine;’ Come, your answer in broken music; for thy voice is music and thy English broken; therefore, queen of all, Katharine, break thy mind to me in broken English; wilt thou have me?
Katharine: Dat is as it sall please de roi mon pere.
Henry V: Nay, it will please him well, Kate it shall please him, Kate.
Katharine: Den it sall also content me.
Henry V: Upon that I kiss your hand, and I call you my queen. [she shakes her head ‘no’ and kisses him on the lips] You have witchcraft in your lips, Kate: there is more eloquence in a sugar touch of them than in the tongues of the French council; Here comes your father.
Context
The initial awkwardness between Henry and Katherine is what makes the scene endearing; the notion that to Henry, conquering France is easier than wooing Kate. He’s repeatedly at a loss for words, and refuses to flatter or flirt with Katherine. He either is incapable of wooing in “festival terms,” or he wants Katherine to love him for who he is.
For Katherine’s part, at first, she seems indifferent to Henry, if not outright resistant to his love suit. As she says, “Is it possible that I should love the enemy of France?” Henry’s awkward wooing is not the only barrier to Katherine’s heart – he also killed hundreds of her countrymen and aims to take her father’s crown. It’s entirely possible that Katherine sees Henry as her enemy. The biggest question is- does she actually fall in love with him? Henry is charming, so it’s not impossible that Katherine’s feelings are genuine. It’s also possible that Katherine is actually interested in becoming queen to keep her father’s lands and titles in the family through marriage.
Interpretations
Questions To Ask:
Is Henry really being awkward, or is this a front?
Does Henry love Kate, or is he being political?
Is Kate in love with him? If so, when and why does she fall for him?
If Kate never falls for Henry, why does she agree to marry him?
I’m pleased to announce that I’ve created a fully online, interactive Shakespeare class for kids ages 6-11 to start them on a lifelong journey of Shakespeare! The course will include games, videos, webquest activities, and puppet shows!
Title: Shakespeare for Kids!
Purpose:
Video trailer
The goal of this class is to introduce Shakespeare to young children in a fun and interactive way. For example, each lesson starts with a fun and funny introduction to a Shakespearean topic by our friend Puppet Shakespeare. Each class will also feature interactive games and quizzes that break down the poetry, language, characters, and plots of Shakespeare to help kids lose their “Shakes-fear” and begin engaging with classic literature
Each class builds from learning about Shakespeare to learning about the language and poetry of his plays, to finally an in-depth analysis of one play: “A Midsummer Night’s Dream.” After watching videos, playing games, and filling out handouts about these topics, the student will go on a “webquest,” that is, a series of webpages that feature activities, outside websites, and a short- puppet show retelling of “Midsummer” for the student. The goal is that by the end of the course, the student will be able to understand the dialogue of the play, summarize the story, know the characters, and enjoy the poetry.
Format: Nearpod with video and web links.
Ages 6-10
Description: 2 week course, $10 per week.
Part I: Who Is Shakespeare?
Learn about Shakespeare’s life and career with an interactive timeline, handouts, and an engaging puppet show! This section will include me reading from the excellent children’s book: William Shakespeare and the Globe by Aliki.
Part II: Words, Words, Words
WIlliam Shakespeare (Or Bill as I like to call him), wrote in a very special way. Back then playwrights were called poets, so not only did he have to make plays, he had to write them so they would sound like lines of poetry.
Part III: Shakespeak
Figure out how to translate all the “thees” and “thous” that make reading Shakespeare a challenge nowadays
Part IV The Play’s the Thing!
What kinds of plays did Shakespeare write? This handy lesson will teach you about the basic types of plays Shakespeare wrote, and give you a quick summary of each!
Part V: Disney vs. Shakespeare
Poster for Disney’s Elemental, which bears many similarities to Shakespeare’s Romeo and JulietContinue reading →
Enjoy this video trailer and a podcast episode to see some of the ways I’ve traveled to a Galaxy Far Far Away, with Shakespeare’s ghost as my Jedi Master:
It’s around 1597 and Shakespeare is putting the finishing touches on his new play, Romeo and Juliet, when his wife Anne Hathaway arrives. Anne frankly, hates the double-suicide ending and takes Will’s quill. She then proceeds to write a new story where, after Romeo dies, Juliet packs up and flees with her Nurse and her two best friends to have a holiday in Paris (the city, not her ex-fiance).
To find a jukebox musical that is so self-aware in its writing, so humorous in the way it includes its songs through the narrative, and so blatantly charming, is a pure joy…and really, if you asked me to summarise this review into just a sentence it would be that: & Juliet is pure joy. –Carly Fisher
Stuff you Might have Missed
1609 collection of Shakespeare’s Sonnets, which were published without his permission.
Anne Hathaway Shakespeare- the sonnet Anne complains that Shakespeare never mentions her in his work, except once in sonnet 145, where he writes: “I hate, from hate away she threw, and saved my life saying, ‘not you’.”
Anne and the Second Best Bed– After breaking the fourth wall, Anne also complains that her husband left nothing to her in his will but “My second best bed with the furniture.” This is true, and some scholars have attempted to defend this choice, but it certainly doesn’t look good. In the myth of Shakespeare, this story has helped to construct the Shakespeare who cares more about his work than his wife. What’s interesting is that “&Juliet” helps address this myth and examines it. For more information about the myth of Anne and Will, click here to see my review of “Hamnet”
Yes, Juliet might be based on a historical character. One reason Will objects to his wife changing the play is that it violates the historical accuracy of the story. Like I said in my “Genesis of Romeo and Juliet,” the Capulets and Montegues might have been based on real political factions in Verona.
The Characters
The Music
All the songs in “& Juliet” came from one man- Max Martin, a Sweedish songwriter who has composed songs for Brittney Spears, Celene Dion, and The Backstreet Boys. These mega pop-hits were a huge part of my childhood, so seeing them combined with my favorite writer definitely tickled me and set off my nostalgia goggles. More importantly, it’s very interesting to see how the playwright David West Read turned these songs into a musical.
Setting “Romeo and Juliet” to pop music is by no means a new idea- “Gnomio and Juliet” underscored the whole movie with music by Elton John (who also produced the film). Making Shakespeare into a kind of rock or pop star is also not a new idea- Something Rotten and the musical version of “Shakespeare In Love” also did that. What is new is the concept of turning the story of Romeo and Juliet into a jukebox musical- a story where all the songs are pre-existing pop songs.
Normally I hate jukebox musicals- I find it irritating when producers take an artists’ songs and try to stitch them together into a coherent musical play. In normal musicals, the songs are designed to further the plot and help explain the characters’ internal and external conflicts. In my experience with most jukebox musicals, the songs feel like a waste of time, because the songs were never designed to tell an overarching story, so when they are integrated into a play, the story grinds to a halt. When it’s done badly, either you’re bored with the songs, or bored with the play.
With this in mind, I was prepared to dislike “&Juliet”. I was expecting either to hate the songs for slowing down the plot, or to hate the plot because I wanted to get back to the songs. But… miraculously, both the songs and the story WORKS! David West Read did a great job seeing the overarching themes of loss, love, and conflict within relationships within the music of Max Martin, and translate them into Romeo and Juliet- the iconic lovesick teenagers.
I’d like to highlight the incredible effect of one of these songs in the context of the play- “Hit Me Baby One More Time,” by Miller, made popular by Brittney Spears:
Oh, baby, baby The reason I breathe is you Boy, you got me blinded Oh, pretty baby There’s nothing that I wouldn’t do It’s not the way I planned it
It’s very clever that the writer gave this song to Juliet when she us at her most down and most self-destructive. She feels like her life is over without Romeo (her loneliness is killing her). What’s nice about this musical is that this moment is the beginning of Juliet’s arch, not the end.
Costumes
I could write a whole post about how clever the costumes are, and I will at a later date. Suffice it to say that they compliment the story and music by blending Elizabethan costumes with the sort of late 90s-early 2000s pop-star fashion favored by The Backstreet Boys, Katy Perry, and of course, Brittney Spears.
My Final Word
This show might not please everyone- hardcore Shakespeare nerds might find the concept hard to swallow, and honestly since the songs are mostly from the 90s and early 2000s, the music might be a little dated for a modern audience. Also, with the positive portrayal of homosexual relationships this show is DEFINATELY NOT FOR CONSERVATIVES. That said, it might do exactly what I’d hoped it would do- make fun of Shakespeare with care and in the process, get audiences to enjoy it anew.
In a world and in an age where everything is taken so seriously, it’s a complete delight to return to the idea of going to the theatre simply for fun and entertainment. Yes, the storyline is light and the line up of songs is a laundry list of bops, but in my opinion, there’s no problem in any of that! Quite the opposite! Packed to the brim with exceptional talent and some of Australia’s top dancers filling the ensemble…this is entertainment for entertainment’s sake and that is a lost art form in and of itself. – Carly Fisher
The Shakespearean Student 