I’ve been in this play three times and I’m continually struck by how fun, romantic, and progressive it is. It raises questions about gender roles, social norms, bullying, and even catfishing and heteronormativity! It’s a fascinating and thought-provoking play and it’s my favorite of Shakespeare’s comedies!
Shakespeare’s early comedies are about young love, infatuation, and being ‘madly in love’ (sometimes literally). His middle plays are about mature relationships between men and women and the need for commitment. I would argue that Twelfth Night, (and possibly Much Ado About Nothing), are the best examples of Shakespeare telling meaningful stories about romantic relationships.
In honor of “Twelfth Night,” I’ve created a coupon for my course on Shakespeare’s comedies from now till January 31st: Get $10 off my class “Shakespeare’s Comic Plays” with coupon code HTHESYTIT110 until Jan 31, 2023. Get started at https://outschool.com/classes/shakespeares-comic-plays-868BR5hg and enter the coupon code at checkout.
To finish I wanted to give you a complete production of Twelfth Night for your viewing pleasure, but I can’t decide which one, so I will post a bunch today!
1. 1996 TV movie starring Geoffrey Rush (Pirates of the Caribbean)
I love the BBC Kids show “Horrible Histories,” based on the books by Terry Deary (who also appears in the show). The show is a Monty-Python like variety show that jumps from various periods in English history, (primarily), while highlighting the “gory, ghastly, mean and cruel,” elements of history that our teachers tend to gloss over.
One period of history in which the show excels at satirizing is the Tudor period; devoting several songs, sketches, and animations to the reigns of Mary I, Good Queen Bess, and of course, Henry VIII. Here are some of my favorite clips from the series, with Ben Willbond as Henry VIII:
It’s November, the month when we Americans ponder perilous journeys to new worlds and give thanks to the people who settled our country. As this clip from “Shakespeare In Love” illustrates, Shakespeare clearly had these kinds of journeys on his mind. They influenced plays like “Twelfth Night,” “The Comedy Of Errors,” and especially “The Tempest.” It’s not surprising that long journeys to America were on Shakespeare’s mind; he lived right at the time of the first settlements in America, and the Pilgrims celebrated the first Thanksgiving only four years after Shakespeare died:
However, as I said in my “Is Shakespeare Being Cancelled?” post, the people who colonized America were hardly saints and they did impose their own culture on the indigenous people that lived there. This tension between the romantic ideal of taming the unspoiled wilderness of America and the reality of colonization is deep within Shakespeare’s last solo play. Its hero is a magician with the power to control spirits and who enslaves the only creature living on the island before he came- Caliban.
Though Prospero did not come to the island by choice, he certainly imposes his will on the creatures and spirits of the island and even calls himself the lord of it. On the other hand, he eventually leaves, pardons Caliban, sets Ariel free and resumes his former life as the Duke of Milan, so the story isn’t entirely about colonization. At its core, The Tempest is a story about revenge, savagery, and redemption. Audiences back in 1611 would probably see Caliban as a savage with his rough manner, bizarre appearance, and peculiar religious beliefs. But the real savage is Prospero, who like Dr. Frankenstein, gives in to his baser desires for control and revenge; enslaving Caliban, and conjuring the Tempest to take his revenge on his brother Antonio. But Prospero eventually repents and abandons his quest for revenge and this decision improves everyone’s lives, especially his own. He can now move on and become a better duke and a better man.
This play is fascinating to ponder and it has spawned countless re-interpretations. As I said before, this journey to a strange new world has influenced both the Horror and Science Fiction genres. The themes and characters of The Tempest can be found in works such as Frankenstein, to Brave New World, to Star Trek, which is why this month, I will be not only analyzing The Tempest, but also the Shakespearean roots of one of my favorite TV shows- Star Trek: The Next Generation!
If you are your child are interested in learning more about this fascinating play, I actually teach a class about it as part of my course on Shakespeare’s Comedies which starts November 5th at 4PM, EST. Below is a trailer and link:
Shakespeare’s King Lear is an age old tale. Like Cinderella it has been reinterpreted throughout time and in many different cultures. Here are a few interesting highlights in the old legend and how it got to Shakespeare in the 1600s.
The Princess Who Loved Her Father More Than Salt
This is an old folktale from my favorite podcast, Journey With Story, which starts with the Cordelia/ Lear plot of a foolish king who banishes his honest daughter. Then through extraordinary circumstances it becomes a Cinderella story. I think at some point these two stories were one and the same until they diverged and one became a story about an absent father and a wicked stepmother, while the other became about a wicked father and a dead mother.
The ancient ballad of King Leir, which helped inspire Shakespeare. It serves as a cautionary tale against flattery, and it places equal blame on Lear and his daughters:
And calling to remembrance then His youngest daughters words, That said the duty of a child Was all that love affords: But doubting to repair to her, Whom he had banish'd so, Grew frantick mad; for in his mind He bore the wounds of woe:
Which made him rend his milk-white locks, And tresses from his head, And all with blood bestain his cheeks, With age and honour spread. To hills and woods and watry founts He made his hourly moan, Till hills and woods and sensless things, Did seem to sigh and groan.
Even thus possest with discontents, He passed o're to France, In hopes from fair Cordelia there, To find some gentler chance; Most virtuous dame! which when she heard, Of this her father's grief, As duty bound, she quickly sent Him comfort and relief
The characters of Gloucester and his children, Kent, and the Fool are absent in this ballad, but unlike the fairy tale above, both Lear and Cordelia die in each other’s arms.
The Annonymous History of King Leir, (first published c. 1594)
This play was written for Shakespeare’s rival acting company The Queen’s Men around 1590). Since the Queen was patronizing the company, most of their plays were government-funded propeganda. For instance, it was the Queen’s men who first did a tragedy of the wicked King Richard III.
If you watch the first 20 minutes of the documentary above, you will see that Wood and many other scholars believe Shakespeare must have worked for the Queen’s men, or at least performed their scripts, since they did their own versions of King Lear, Richard III, King John, and Henry V.
However Shakespeare got a hold of The Queen’s Men’s scripts, he didn’t adhere to them rigidly. Their King Lear follows the fairy-tale / history format of having Cordelia be banished, disguise herself as a peasant (like Cap ‘O Rushes in the earlier version), and eventually she is restored to her rightful place. Shakespeare’s version must have been a MASSIVE shock to anyone who read these old tales and ballads. In Shakespeare’s version, everyone dies and there is no guarantee that the kingdom will survive. Every other tragedy ends with a new king or emperor to take over the kingdom but Lear leaves the audience with a sense of apocolypse; that Lear’s madness and Edmund’s machinations have doomed England and all these characters’ lives will be erased by Time.
As pessimistic as Shakespeare’s Lear is, it does seem more true to life than the previous versions. Perhaps this is because of a legal case from 1603 that might have inspired Shakespear to adapt the story: In 1603, two daughters tried to have their father declared insane. By an astonishing coincidence, the third daughter, who protested, happened to be named Cordelia! Perhaps Shakespeare, (who had three children and was preparing to retire), might have been inspired by this case and worried he might suffer the same fate.
Slings And Arrows is a Canadian sitcom about a theater festival loosely based on the Stratford Shakespeare Festival in Ontario. Its hero, Geoffrey Tennant (Paul Gross), in addition to dealing with the seemingly endless problems (or should I say, “Slings and Arrows?”) mounting a Shakespeare play, is also worried he’s going mad, since he keeps seeing the ghost of his old mentor/ director Oliver Wells (Stephen Ouimette). For a recap of Season One and Two, click here to read my review.
I describe this show as a funny, tragic, bittersweet comedy about drama. It’s The Office for Shakespeare Nerds!
Season 3 Retrospective: The Promised End?
Before settling in to write this review, I went back and read some of your comments on the whole of the series, and if there was a common thread to them, it was the idea that season three is almost too painful to bear by the end, that watching these last three episodes where everything we’ve come to love so much utterly falls apart is something like ripping off a Band Aid. I can see that. I usually watch season three all in one gulp, and having to delay my viewings every week became almost torturous, both because of the plot momentum the show builds up and because I had a week to let the things happening at New Burbage stew away in my brain. What makes it even worse is that nobody here is a bad person.
To succinctly summarize this season, it’s a bad season with a good finale. This season is the show at its most raw, and frankly most of it I can’t bear to rewatch. Accordingly, this won’t be a review of the season, so much as a review of one great episode; the series finale, “The Promised End”. But first, I’ll talk about the characters and tropes that got us there.
William Hutt as Charles Kingman
The majority of the drama around season three revolves around Charles Kingman (William Hutt). Mr. Hutt was a distinguished Shakespearean actor and while he was working on this season, Hutt was struggling with leukemia. The final episode aired on August 28, 2006, and Mr. Hutt died peacefully in his sleep on June 27, 2007.
Hutt delivers a great performance as Lear and Charles, and you’d never know he was dying with all the incredible energy and skill he delivers. However, once you know he’s dying, the arc of his character and the way Charles talks about age and death is heartbreakingly poignant:
Stephen Oimette as Oliver Wells
I’ve avoided talking about Oliver because he’s honestly more of a comic relief or a Shakespearean fool for most of the series. In this season, however, he becomes a real character as this clip shows. Geoffrey finally goes to therapy, (which Oliver twists into a ghost couple’s counseling session). It’s wonderful to see them finally address their love-hate relationship and I think it carries over into Geoffrey’s arc (more on that later).
Again, Darren Nichols is mostly comic relief, but he actually becomes a full-fledged antagonist in Season 3. In Seasons 1-2 he was a character foil- a director who hates theater, except as a vehicle for himself. In Season 1 he’s literally a foil for Geoffry, (in that he clashes with Geoffrey with literal fencing foils). In addition, he crams his production of Hamlet with pointless spectacle. In Season 2 Darren is a foil to Sarah in Romeo and Juliet– he loves being clever and cynical and wages war on the sentimentality of the love story. In this season, first Daren is a foil to Richard- mocking the sentimental storytelling of musical theatre, (as you can see in the clip above). Next, he becomes Richard’s pawn; taking credit for Richard’s skill as a director and propelling himself to become the new Artistic Director. He’s basically Edmund in King Lear- a narcissist and a cynic who loves to mock and tear down institutions.
Paul Gross as Geoffrey Tennet
Geoffrey has a very dynamic arc this season, but to achieve it, he actually regresses a lot. In the first few episodes, Geoffrey seems to hate being at this theater even after his Macbeth became a great success. He starts crying randomly, which I interpret to mean he’s horrified at the possibility that he might have to be in this theater for another year. In essence, after a full year of growth, Geoffrey has regressed to the selfish, obsessive jerk he was in Season One. As you’ll see later, this regression was necessary in order to justify his arc, but I find it nearly unbearable to watch.
That said, it’s nice to see that Geoffrey isn’t a perfect person, and he still hasn’t addressed the source of his pain- his breakdown, Oliver’s betrayal, losing Ellen, and losing his job as an actor. The only glimmer of hope in this bleak season is that Geoffrey finally confronts his pain and learns to make peace with himself, with Ellen, and Olliver.
King Lear tropes in Season 3
Trope 1: a kingdom divided
Shakespeare wrote King Lear at the same time that King James was trying to unite England and Scotland, which is why a big theme of the play is how foolish it is to divide a kingdom. In Season three of Slings and Arrows, the Lear production has to share the theater with a new musical about addiction (loosely inspired by Rent). As you can see in this clip; while they rehearse this corny, ridiculous musical, Charles is telling the story of Shakespeare’s King Lear.
Often in theater rehearsals, actors will tell the story of the play from their character’s perspective. What’s brilliant about this clip is that, while the musical demonstrates a paper-thin understanding of addiction, dramatic storytelling, or even good musical theater, Charles is conveniently leaving out Lear’s cruelty to his daughters, his failure to see their flattery, and his insane clinging to power when he has already given it away. Charles’ inability to see Lear’s flaws also mirrors his inability to see his own, which brings me to my next trope:
Trope 2: Love, or enabling addiction?
Like I said earlier, Charles understands the positive aspects of Lear, but fails to see the negative, which is why he also fails to see them it in himself. Lear is not just a dear old man who was betrayed for no reason; he’s a selfish deluded violent old narcissist who cares about no one but himself. That is why he goes mad- he defines himself by power and when he loses it he loses his identity.
What’s really great about this season is that it doesn’t just show the dark and light aspects of Lear, it also questions the ethics of Kent and Cordelia, the heroes of the play who try to save him. Geoffrey eventually plays Kent in the final episode, and it’s quite obvious that he mirrors Kent’s arc; sacrificing everything to help Charles play Lear one last time. He and Anna (who is basically Cordelia in this season), even get Charles drugs to help him with the pain of cancer. Charles’ desire to play Lear mirrors Lear’s desire to play the king; they are both addicted to something that is ultimately killing them.
But as you look at the season as a whole, you have to ask, was it worth it? Was it worth it for Geoffrey to lose his job and his theatre, get a bunch of other people fired, and eventually lose the festival as we know it just for one man?
Episode Six: The Promised End
Just like in Season two, we get a beautifully directed, beautifully shot condensed version of “King Lear” in the final episode, but the tone is completely changed. Everyone has been told that if they do this show, they will be fired, and they do it anyway meaning that onstage and on screen for the actors and characters this is a bittersweet last-ride for everyone.
The truly heartbreaking moments are with Geoffrey, Oliver, and Charles. We see how amazingly good Charles is, once he accepts his age and mortality. In essence, making this everyone’s last performance made it better all around.
“A Higher Purpose”
In a great twist of fate, Geoffrey has to fill in for Jerry as the Earl of Kent. He’s horrified since the last time he acted he had a nervous breakdown. This has been a problem the whole series for Geoffrey- he blames Oliver for his breakdown and he hates the New Burbage theater because it reminds him of his breakdown. But now, he must confront his fears and get back onstage and who helps him? Oliver. He coaxes Geoffrey through his stage fright by getting Geoffrey to focus on Charles. This, by the way, is how all actors deal with it- we find an objective and spend 2-3 hours fighting for it so we don’t have time for fretting about the audience.
It’s truly lovely to watch Oliver coaching Geoffrey- not only does it mirror Geoffrey doing the same thing for Jack in season one, but we see the story of Lear from Kent’s perspective- a man trying to serve his king. This puts Geoffrey’s arc through the season into sharp focus as well- he was trying to save Charles, not Lear- Charles.
“What are we doing here?” “Putting on a play.”
Like I said before, Geoffrey starts this season with a real self-destructive streak and it’s telling that in therapy he admits that he has no work-life balance. He defines himself by making art. Through playing Kent and doing something outside the theater, Geoffrey finds meaning in his life offstage. This is why I can bear to watch this episode instead of the others- yes the theater is gone, yes Darren and Richard win and all the characters I care about have been fired, but at least Geoffrey, Ellen, Oliver, and Charles finally grow and get to move on. Charles can die in peace now that he gets to do one last performance, (without letting it drive him mad). Geoffrey gains a new perspective on his life, and thus he doesn’t need Oliver anymore. I now have reason to hope that he and Ellen can now make a life together and not mess it up like they did the last time.
In conclusion, Season Three is not fun or cheerful, and there’s no satisfying conclusion for most of the characters. That said, this might be the best-written, most amazingly performed, and most heartrending sign off for a series I’ve ever seen, and if it took so much toil and pain to get here, so be it. It’s also a tremendous tribute to a great actor, William Hutt; I feel privileged to see his final performance on this show, and rejoice that at least one more time, I got to see the king bow:
When we our betters see bearing our woes, We scarcely think our miseries our foes. Who alone suffers suffers most i’ th’ mind, Leaving free things and happy shows behind; But then the mind much sufferance doth o’erskip When grief hath mates, and bearing fellowship. How light and portable my pain seems now, When that which makes me bend makes the King bow
Edgar, Act III, Scene vi.
Play ME OUT CYRILL!
Shameless plug! If you’re here for more Lear, I’ll actually be playing Kent in an online radio play this Saturday, October 22nd, at 1PM EST. Here’s a link to the Youtube channel where it will be broadcast:
Basics Of Stage Combat: Students will learn the basics of safely enacting a fight onstage, in preparation for a Shakespeare play. We will also learn about the history of sword fighting in the military and the duel.
My daughter really enjoyed taking this class. She was actually able to use her sabre and try out her routine on her father. Paul is quite knowledgeable about Shakespeare and made the class really fun by teaching a fight scene from Romeo and Juliet. It is amazing watching her practice with Paul over Zoom. I hope Paul will have. more combat classes, it is a different way to learn Shakespeare.
An Interactive Guide To Shakespeare’s London (New Class)
A virtual tour of Shakespeare’s London will get kids to interact with the culture of Elizabethan England.
To teach kids about the Elizabethan era and the background of Romeo and Juliet, The Instructor will interact with the class (via pre-recorded videos), pretending to be Shakespeare. The class, pretending to be actors in Romeo and Juliet, will get a virtual tour of The Globe Theater, Hampton Court Palace, and a virtual visit to an Elizabethan doctor's office. This activity is an immersive way for them to learn about the period, how it relates to the world of the play, and how Shakespeare changed theater.
The class will take the form of a guided WebQuest activity. First, the students will get a worksheet that has a series of fill-in-the-blanks about Elizabethan society (below). The students will fill out this worksheet based on a Nearpod and in conjunction with a website I’ve made, https://sites.google.com/nebobcats.org/visit-to-elizabethan-london/home?authuser=0
Both the Nearpod and each webpage will have a virtual tour, a video, and text explaining some aspects of Elizabethan life. Before they go to each location, I will give a short introduction via prerecorded video:
In this one-hour course, your child will discover the enchanting world of science through a series of magical experiments. Learn about such topics as Astronomy, Static Electricity, chemistry, and optical illusions.
In this one-hour course, students will learn and play games that will explore the history behind Christmas traditions. We will also discuss the themes, characters, and famous quotes from Shakespeare’s play “Twelfth Night.”
Slings And Arrows is a Canadian sitcom about a theater festival loosely based on the Stratford Shakespeare Festival in Ontario. Its hero, Geoffrey Tennant (Paul Gross), in addition to dealing with the seemingly endless problems (or should I say, “Slings and Arrows?”) mounting a Shakespeare play, is also worried he’s going mad, since he keeps seeing the ghost of his old mentor/ director Oliver Wells (Stephen Ouimette). For a recap of Season One, click here to read my review.
The premise of the Series
I describe this show as a funny, tragic, bittersweet comedy about drama. It’s The Office for Shakespeare Nerds!
Season 2 Retrospective
Whereas Season One was sometimes extremely dramatic and raw, Season Two is much more relaxed; it feels a little bit more like The Office for Shakespeare nerds. Each episode focuses much more on the work-a-day frustrations of running a theater. We see it through multiple perspectives and even multiple shows- we see one director not being able to complete Romeo and Juliet, we see another trying to cast for Pirates of Penzance, and finally we see Geoffrey trying to fulfill Oliver’s posthumous concept for Macbeth.
“You just need to sell more tickets.”
“It’s not that simple, we’re talking about THEATER!”
Season Two doesn’t just focus on the artistic side. The theater is going broke, and Richard is begging for money from sponsors and the government. Susan Coyne as the overworked Executive Assitant Anna also has her hands full taking calls, organizing the schedule, and of course her new additional frustration with the internship program.
This particularly made me laugh the first time I saw the show because at the time, I was interning for the American Shakespeare Center. I know what it’s like to feel like if you’re out of your depth but excited, thinking that this is going to be your big break, (while also being keenly aware that your job is mostly obviously getting coffee and writing notes in the prompt book). I have to give a shout-out to Grace Lynn Kung who plays intern Emily Wu; she does a great job of portraying this mixture of anxiety and youthful desire to please.
To be brief, this season has a much greater level of authenticity and realism that shows the series graduating from a soap opera into a real workplace comedy.
Paul Gross as Geoffrey Tennet
In the first three episodes, Geoffrey is afraid to put on Macbeth because he thinks that Oliver will come back. Just like Season one, Geoffrey is still not sure whether Oliver is actually a ghost or is actually a manifestation of Geoffrey’s madness. As he continues to work on the production, he and Oliver quarrel as conflicting directors, and their private struggles as friends and colleagues even spill over into rehearsals, which threatens the production itself.
Gerand Wynt Davies as Henry Breedlove
The main curse in this production is the old guard of actors who are threatened by Jeffrey’s leadership; they got used to Oliver’s more relaxed style and they do not want Geoffrey shaking things up. Chiefly among them is Brian Cabbott and Henry Breedlove played by Geraint Wyn Davies, (who is really a classically trained actor from the Royal Shakespeare Company). Brian starts out by playing Claudius in Hamlet in the tail end to Season One. He’s disrespectful to Geoffrey and criticizes him to his face. Like Prince Hal dismissing Falstaff, Geoffrey dismisses Brian from the company.
One theme of Macbeth that is echoed again and again in Season two is middle-aged people feeling threatened by the young. It’s shown in Geoffrey’s clashes with Henry and Brian, with Richard being seduced by the hotshot young marketers at Froghammer, and especially with Darren Nichols, who is forced to direct Romeo and Juliet, and clashes with the young and idealistic Sarah (Joanne Kelly). She gives a passionate performance both as Juliet and as a young actress who desperately wants to do her best, and actually asks Geoffrey to direct her behind Darren’s back, as this adorable scene illustrates:
What’s great about this scene is it doesn’t just set up the star-crossed romance between Sarah and her costar; it also cleverly points out the similarities between Macbeth, and Romeo and Juliet. As you see at the end, Geoffrey is inspired by Sarah’s performance and it carries over to how he directs Henry and Ellen in Macbeth. Both couples are impulsive and reactive- they love pitting themselves against the world, and that is one reason why their affairs end in tragedy. Many scholars echo this interpretation, that if Romeo and Juliet had lived, they might have become the Macbeths. Seeing the balance between backstage drama, clever Shakespearean commentary, brilliant Shakespearean acting, and workplace comedy is at the heart of why this show works, and it’s handled masterfully in each and every episode of Season 2.
My favorite episodes
Episode 1: Season’s End
The Departure of Rachel McAdams As Kate
In the first episode, there is the tearful goodbye of Luke Kirby and Rachel McAdams, mirroring the fact that, as big Hollywood stars the two of them were unable to continue for a second season, even though everyone involved from the cast to the creators wishes they could. The life imitates art aspect of this episode makes it particularly tearful and sad to watch and yet it is a thoughtful and deeply well-earned sendoff.
Episode 2: Fallow Time
One of my favorite episodes is technically the Christmas episode of the show, and as such, Oliver gives Geoffrey a gift- he leaves him costume sketches, set designs, and notes on the play’s concept, which the ghost of Oliver explains in detail to Geoffrey and the audience. Maybe this kind of glimpse into the nitty gritty of theatrical concepts will only appeal to theater nerds, but I truly love it.
Episode 4: Fair Is Foul and Foul is Fair
While all the drama onstage is going on, Anna is getting some romantic attention from a playwright, unaware that (SPOILER ALERT), she’s using him for ideas for his script. In a way, this subplot shows us another aspect of Macbeth and Romeo and Juliet; in both these stories, the men use women for their own gain. Romeo arguably is using Juliet to play out his romantic fantasies, and Macbeth certainly depends on Lady Macbeth’s courage and cunning in order to go through with their plan to kill the king. Not surprisingly, all three romances end in tragedy.
Meanwhile on the stage during Macbeth rehearsals, Geoffrey is trying to get an organic, serious performance out of Henry, but he thinks he knows more than his director so Geoffrey has no choice but to fire him as he did Brian.
Episode 5: Steeped In Blood
In this episode Geoffrey puts the lovable understudy Jerry onstage as Macbeth. What’s interesting in this episode is, while Henry plays Macbeth as a larger-than-life soldier, Jerry plays him as sort of an everyman, letting himself be seduced by power and delusions of grandeur. Looking back, I actually owe a lot to this episode, since it helped inspire my own interpretation of Macbeth.
Episode Six: Birnam Wood
If I were going to pick one episode of Slings And Arrows for the time capsule, one episode of the show to stick up against every other show ever made, it would be “Birnam Wood.” I don’t honestly know if this is the best episode of the show—the series finale proper is probably that—but it’s my favorite episode of the show. It makes me cackle with delight, thrill with excitement, and smile with sympathy every time I watch it.
The season finale gives us a fully formed version of Macbeth and Romeo and Juliet: we get to see the designs, the technical rehearsals, the marketing, everything that the whole season was building up to into, not one but two complete theatrical performances!
First, Geoffrey cooks up an elaborate scheme to touch Darren’s heart and get him to scrap his cynical concept for Romeo and Juliet.
As you can see, the scheme works, and Darren has an epiphany during tech rehearsals.
In the show’s climax, for 20 minutes we get to see Henry perform as Macbeth and Ellen as Lady M. Geoffrey reluctantly re-hires Henry, but he refuses to let him walk all over him or his production. I won’t go into spoilers, but let’s just say Henry finally learns his lesson, with a little help from Oliver:
As I said last time, anyone who’s ever had a boring office job loves and recognizes the characters from “The Office,” while those of us in the theater recognize the crazy directors, the hopeful understudies, the divas, and the money-grubbing management. What’s great about this season is that, while Season one focused on them all broken apart, this season has them all coming together, using their talents to put on two excellent shows. After seeing the characters grow and change professionally and personally, we feel like proud parents and this fictional theater company feels more like a family, but any family can be broken… stay tuned.
In 2008, I was in grad school studying Shakespeare. My roommate Robbie invited me to watch this show on DVD. I loved the show at the first watch and bought my own copy soon after. I also shared watching them with the woman who would later become my wife. Watching this show was our unofficial first date!
So as you can see, I clearly have a bias and a nostalgic connection to this show, but I think it has garnered enough praise that I can justify my admiration of it. The creators are Tony award-winning writers. The actors are acclaimed stars on stage and screen, all of whom have experience with Shakespeare, musicals, improv-comedy, or all three! So we have a comedy written by talented theater practitioners, acted by professional Shakespearean actors, and half the dialogue is Shakespeare? Was this show made specifically for me?
The premise of the Series
Something is rotten at the New Burbage Shakespeare Festival- a fictional Canadian Shakespeare company that is loosely based on the Stratford Shakespeare festival. The Artistic Director, Oliver Wells has died in suspicious circumstances, right before he was to start rehearsing “Hamlet.” Wells’ successor is a volatile actor-manager named Geoffry Tennet, who, in addition to dealing with the work-a-day demands of running a theater, the backstage drama of directing a play, his own romantic feelings for lead actress Ellen, is also having ghostly visits from his old mentor, Olliver! What follows is a funny, tragic, bittersweet comedy about drama. It’s The Office for Shakespeare Nerds!
The drama centers around the actors and actresses in the New Burbage Festival as they rehearse a Shakespeare play; Hamlet in Season 1, Macbeth in Season 2, and King Lear in Season 3. The subplots are more often than not workplace drama. Ironically, though the main cast parallels hamlet, the management team of Richard St-John (with a hyphen, played by Mark McKinney) and Holly Day (Jennifer Irwin), are unknowingly playing Lord and Lady Macbeth. The two of them plan to sabotage the production and eventually replace all Shakespeare shows with a more profitable musical-theatre-centered festival. It’s deliciously ironic that McKinney plays the scheming musical-loving Richard, since he himself is one of the Tony-award-winning writers of the Drowsy Chaperone.
Paul Gross as Geoffrey Tennet
I’ve said before that Gorss gives a kind of animal intensity as Hamlet and Geoffrey, and this is especially true in Season 1. When we first meet him, Geoffrey lost his girlfriend, his sanity, and his career as a respected actor. Then he has to return to the theatre where the man who betrayed him works, and is forced to take over this same theater as Artistic Director.
If you’ve never seen the show before, I should warn you, GEOFFREY IS AN ABSOLUTE JERK in the first few episodes. Like I said, he starts out hating his job and pushing away everyone who comes in contact with him. However, little by little, he re-discovers why he loves theater, Shakespeare, and his friends and colleagues. Look at how he goes from a sarcastic pedant to a real director as he teaches these businesspeople how to act!
Rachel McAdams As Kate
The most truly lovely thing about season 1 in particular, is watching Rachel McAdams’ charming and heartfelt performance as Kate. She plays a struggling actor who deeply loves the theater and dreams of becoming a respected actress. Her dreams are tested however when she falls in love with one of her co-stars and is accused of sleeping her way into a better role.
McAdams is the perfect ingenue in this show: She is naive, charming, Ernest, and kind. You watch Kate struggle and desperately want her luck to turn around and then rejoice when she gets to fulfill her dreams.
As Kate on Slings, she’s the understudy who knows better — happy to be cast, sad that she’s not really cast, and trying not to be bitter that the actual Ophelia is such a wreck. Her smarts and capability of course find her pairing off with Jake (Kirby), who’s more famous but less theatrical.
Slings and Arrows Is the Show Rachel McAdams (and All of Us) Deserved By Margaret Lyons. Vulture Magazine, Aug, 2015.
Then you remember… she was Regina George! It’s easy to overlook how good an actor Ms. McAdams is since she frequently is overshadowed by her co-stars. Much like Ophelia herself, people heap all the praise on Hamlet and forget Ophelia. When I keep in mind the breadth of emotions Ms. McAdams has to portray, and how incredibly different this role is from her role in Mean Girls, I feel compelled to say her acting rivals Paul Gross as Geoffrey Tennet
Season 1 Retrospective
Geoffrey: “Are you dead, or am I insane?
Oliver’s ghost: “I don’t see how those things are mutually exclusive.”
S&A Episode 3
My favorite episodes
I recommend watching all six episodes of Season 1 consecutively, but I can’t deny, some episodes are better than others, especially in Season 1. The first three episodes mainly focus on Oliver’s death and the tragedy of the falling out between Geoffrey, Oliver, and Ellen. This is important for backstory purposes, but it’s a little uncomfortable and sad to watch. My favorite episodes are episodes 4,5 and 6. Here’s why:
Episode 4: Outrageous fortune
After a drunken sword fight at his ex-girlfriend’s house, Geoffrey winds up in jail. This is his rock bottom. He even paraphrases Hamlet’s most famous speech as he contemplates ending it all in his cell. Thankfully, Oliver’s Ghost talks him out of it. Once he’s released, Geoffrey is re-energized and has a new purpose in life- directing Hamlet. Again, after three episodes of Geoffrey hurting, irritating, and sometimes even stabbing people, it’s nice to see our hero do what he was put here to do.
Episode 5:A Mirror Up to Nature
Geoffrey is finally fully committed to making the best Hamlet he can be, but he’s having problems with his Ophelia.
Geoffrey’s star is missing! With the production stalled, Geoffrey and Ellen finally have it out, and finally, share their tragic past with each other. Now the race is on to, “Repent what’s past, avoid what is to come, and fulfill their promise to Oliver.
So I hope I’ve articulated why I love this show and its characters. Just like anyone who’s ever had a boring office job loves and recognizes the characters from “The Office,” those of us in the theater recognize the crazy directors, the hopeful understudies, the divas, and the money-grubbing management. These characters feel like our friends and colleagues and they care so much about the universal dogma of “The show must go on,” no matter what kind of agonizing problems slow it down. Whether it be death, dementia, or a dislocated knee caused by a chameleon. the show within-this incredibly clever comedy about drama will catch your conscience… and your heart.