Intro To Shakespeare: In this one-time course, students will learn about Shakespeare’s life and what made him so remarkable. Knowing more about the man and his theater will help them understand why his plays have been loved for so many years.
Paul is a wealth of knowledge about the Bard and a very good teacher. My son has read many of Shakespeare’s plays and these classes just reinforced his love of them. We will definitely take more classes with him.
-Flynn, parent of a student who took this course.
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.
Intro To Shakespearean Acting: Taught by a veteran Shakespearean actor, this class covers the basics of creating a Shakespearean character onstage, including Motivation, character Interpretation, and close readings of Shakespeare’s verse.
Great Class. My learner really enjoyed learning from Paul, he’s a very engaging, informative, insightful teacher.
For the spookiest and most cursed month of the year, I’ve chosen Shakespeare’s Macbeth as my play of the Month for October because it’s full of witches, ghosts, and other supernatural creatures. It also shows the terrible effects of fear on people’s minds. Plus, as I explained in my post on Shakespeare and Halloween, most Halloween witches would be all but silent without Macbeth’s witches.
Today I’m going to talk about the unique costume challenges in dressing the cast for a production of Shakespeare’s history play, “Richard III.”
The play is set in 1483, a time period where, even though many European countries were at war, many nobles had sumptuous, more form-fitting clothes with fur, gold, leather, and other exotic fabrics. If you look at the sketch I did above, I gave Richard designs using velvet, leather, fur, and gold. After all, Richard is a powerful duke even before he takes the crown. For more information about this period, visit Fashion History.edu.
Further, If you’re interested in finding pre-made patterns of 15th century-inspired costumes, go to your fabric store and look for kids like the ones I photographed below.
My design was based on a drawing by the 19th century illustrator HC. Seleous, and the color were taken largely from Richard’s royal portrait in the National Portrait Gallery. I also used a royal portrait of Elizabeth Woodville, queen to Edward IV, (Richard’s brother).
Donning the Hump
Interestingly x-ray photography has recently revealed that Ricahdr’s alleged hump was added to his portrait after his death. In reality the king only suffered from a curvature of the spine. Just like in Shakespeare’s play, the Tudor Chroniclers literally defaced Richard’s image to make him look like an evil, deformed maniac.
Costume designers are vital to help the actors realize the deformity when playing Richard III, and they have done so in many ways. Ian Holm wore a boot on his leg. John Harrel had a bowling ball fastened to his hand, and Antony Sher had a large hump in the center of his back, both a cloth one that was built into his clothes, and an elaborate makeup prosthetic for scenes where he was partially undressed. When I researched for my thesis, I consulted Sir Antony’s book “Year Of the King,” where the actor explained his research into real spinal deformities, and how he incorporated them into the performance. You can see how my actor Matthew figured out how the hump would impede his walk and other movements.
For the final battle between Richard and Richmond, one has to decide on the period and think carefully of the fitness of the actors. 1485 was at the height of the era of suits of armor, and many films have chosen to have Richard fight to the death, while encased in a heavy metal coat of plates.
However, this has not always been the case. Ian McKellen had Richard fight in a gas mask in a 1940s British military uniform, driving around on a jeep that gets stuck once Richard utters his most famous line:
Richard III is a play about political intrigue, mafia-like turf-wars, and literal backstabbing and the clothes need to reflect this brutal and Machiavellian world. The costumer needs to help all the actors, not just Richard realize their place in the corrupt medieval political landscape of The Wars Of The Roses, as these characters go from an uneasy peace, to the last gasp of civil war.
Ages: Adult/ Teen. There’s some PG-13 language, and the subject matter touches on racism and anti-Semitism, so it shouldn’t be read by really young kids.
Premise: Like the Midsummer Night’s Dream edition I already reviewed, this is the full play with Manga inspired illustrations. However, unlike Midsummer, this book is more conceptual. It reinterprets all the characters as either fairies, aliens, mermaids or merman, or some other fantasy characters. It is literally a fairy tale, which I find a fascinating concept for a number of reasons. That said, like any interpretation of Merchant, this choice is somewhat controversial for reasons I will get into below.
“A friend of mine said she got married in Venice and described it as like being in an RPG.”
Faye Yong, Illustrator for “The Manga Shakespeare: Merchant Of Venice.”
What Does Role-Playing Game (RPG) Mean? A role-playing game (RPG) is a genre of video game where the gamer controls a fictional character (or characters) that undertakes a quest in an imaginary world.
Defining RPGs is very challenging due to the range of hybrid genres that have RPG elements.
Traditional role-playing video games shared five basic elements:
The ability to improve your character over the course of the game by increasing his statistics or levels.
A menu-based combat system with several choices of skills, spells, and active powers as well as an active inventory system with wearable equipment such as armors and weapons.
A central quest that runs throughout the game as a storyline and additional (and usually optional) side quests.
The ability to interact with elements of the environment or storyline through additional abilities (e.g. lockpicking, disarming traps, communication skills, etc.)
The existence of certain character classes that define the characteristics, skills, abilities, and spells of a character (e.g. wizard, thief, warrior, etc.)
My reaction: I honestly don’t know what to think about the way the comic depicts races. In the interview above, illustrator Faye Yong explains how she chose a fantasy aesthetic for the graphic novel.
She read the script and represented the characters like the Prince of Aaragon, the Prince of Morocco, and re-interpreted them as fantasy characters. A good example is the Prince of Aragon. As you can see in this scene from the 2004 movie, Shakespeare portrays Aaragon as a vain, shallow person. Incidently, Aaragon is a province of Spain, over which the English just won a major naval victory, so Shakespeare makes this character a mockable popinjay since the Spanish were still the mortal enemies of the English:
Fay Yong wanted to heighten Aaragon’s vanity, so she made him a beautiful creature with long, flowing hair.
This is telling: Yong immersed herself with Shakespeare’s text, but she didn’t really delve into the real world context. She wasn’t interested in the real cultures of Aaragon, Morrocco, or even Venice, but to take Shakespeare’s impression of these cultures, and use Japanese style animation to tell Shakespeare’s story. For most of the play, this approach works quite well. After all, Shakespeare depicts Portia and her home in Belmont as an almost ethereal place, where men come from far and wide to see this magical kingdom, and Portias father gets a prophetic vision on his death bed that makes him alter his will so that only someone who can decipher his riddle will get to marry Portia and inherit her estate. Like I said, the scenes in Belmont work very well as a Manga comic, particularly Bassanio’s Zelda-style fetch quest where he has to choose the right casket to marry Portia. I hope someone someday turns this idea into a real game.
However, the scenes in Venice don’t work as well because Shakespeare wrote them with a clear understanding of the real Venice, and the tensions between the Jewish and Christian communities. Details like Antonio’s anti-Semitism, Shylock’s fury at his daughter marrying a Christian, and Portia’s own racism and anti-Semitism is frankly erased when you view it out of the context of the real Venice.
Another example of questionable racial re-interpretation is theThe Prince of Morrocco, who like Aaragon, is a suitor to Portia who likewise fails to choose the proper casket and win Portia.
In Yong’s version, Morocco has green, rather than brown skin now, (sort of like Piccolo from Dragon Ball Z), which is problematic because we associate green with sickliness and that makes this speech of Morocco’s even more problematic:
Mislike me not for my complexion, The shadow'd livery of the burnish'd sun, To whom I am a neighbour and near bred. Bring me the fairest creature northward born, Where Phoebus' fire scarce thaws the icicles, And let us make incision for your love, To prove whose blood is reddest, his or mine
Not surprisingly, the most controversial illustration choices center around Shylock the Jewish moneylender. As I’ve written before, Shylock has always been a controversial figure, and this comic interprets him in a way I find simultaneously simplistic and highly thought-provoking.
Faye Yong has stated that she wanted to make Shylock look the same as the Christian characters, but that his garb would reflect a sort of “dark elf” aesthetic. She describes him as the sort of fantasy character that worships the moon, rather than the sun. On the one hand, I applaud her for not giving into the old Jewish stereotypes like red hair, hook noses, etc. I also have to admit that Shylock is sort of a dark vengeful figure (he is after all, the villain), so making him a dark elf works on the surface.
On the other hand, again, without the context of anti-Semetism, and the complex relationship between Jews and Christians in the 16th century, much of the Shakespearean text is devoid of meaning. Perhaps this is an attempt to make the play more easily accessible to young readers like teenagers, and I applaud that, but as I wrote in my post about why everyone should read or teach this play, learning about the historical context of real Jews is this play’s great gift, and that is lost in this version.
On the other hand, depicting Shylock like some kind of dark elf or warlock actually brings to life a very real aspect of anti-Semetic prejudice that many people overlook today: for most of western history, many of our stereotypes of Jews were interlinked with our stereotypes about witches!
Jewish Stereotypes and the Occult
So, ironically, much the same way Ian McKellen’s Richard III helped modernize the complex medieval politics of the 15th century, seeing Shylock as a semi-mystical, possibly occult figure, actually brings to light some of the prejudices that real Jews in the 16th century faced!
In conclusion, Merchant Of Venice is extremely hard to adapt in a comic book context, and some aspects are a little lost in translation. That said, it is gorgeous to look at, and it has a great visual shorthand that enlivens Shakespeare’s text in a unique and appealing way.
Recommendation: I’d recommend this book to all mature fans of Shakespeare, anime, Manga, D&D, or any kind of nerd stuff!
Ages: Pre Teen- Adult. No violence or explicit imagery, but the visual format might be confusing for younger viewers.
Sometimes the over-the top nature of manga drawings works well with this play. When Helena is mooning over Demetrius, we can see highlights in her eyes that work very well within the big-eyed, expressive style of Manga. By contrast, some other characters like Oberon are drawn very sharply, making him appear stern and even grim.
Another thing the style of pictures does is to literally illustrate the poetic passages of the For example, when Titania delivers her “These are the forgeries of jealousy,” speech, the images of the text compliment
Recommendation: This book is a good resource for classrooms exploring the text of
Ages: Adult/ Teen. There’s some PG-13 language and a lot of fighting and gore, so it’s not really for kids
Premise: William Shakespeare is more than just a simple playwright- he has a magic quill that brings his characters to life. Some of the characters worship him like a god or like a father. Unfortunately, others (namely, the villain characters), are unhappy with their stories and want revenge, causing a civil war led by Richard III, Macbeth, Lady Macbeth, and Iago (who is once again, betraying Othello). Our heroes include Juliet, Othello, Falstaff, Hamlet, and Captain Cesario (who is actually Viola from Twelfth Night in disguise). Can the heroes defeat the villains? Can Shakespeare save his precious creations from destroying each other before it’s too late?
My reaction: In essence, this graphic novel is like Season 4 of one of my favorite TV shows, Once Upon A Time. The premise is that an ordinary writer is given the power to create living characters, some good and some evil. In fact, in Once Upon A Time Lore, Shakespeare WAS one of the Authors in the OUAT universe
The main difference between Once Upon A Time and Kill Shakespeare is that the action is far more violent, and the characters have one main quality- ANGST. As I said, the villains are not happy with Shakespeare, which makes perfect sense. Macbeth famously called his life a “Tale told by an idiot,” and Richard III loves to blame his problems on either God, or his mother, since one or both of them cursed him with deformity and love of wickedness. It makes complete sense that these characters would rage against their creators. The heroes (especially the tragic ones) are also struggling with their sad pasts and trying to reconcile their feelings for Shakespeare. Is he their god? Is he their father? If so, is he a good one or a bad one?
What I like the most about this graphic novel is that the characters are consistent with how the real Shakespeare wrote him, yet they make different choices in the graphic novel. They also grow and play off each other in many interesting ways. Here are some examples:
Juliet in this version is much more of a fighter than a lover. She is a general of all the heroic Shakespearean characters and uses her hope and her wits to rally the troops. That said, she still misses Romeo, who died from the poison just like in Shakespeare’s version, and still has love in her heart. I won’t give anything away but, let’s just say that this time she climbs someone else’s balcony.
Falstaff This might be my favorite change in this version. Falstaff is still witty and gluttonous, but in this version, he’s on a bit of a redemption arc. He commits himself to fight with the rebels and even has faith in Shakespeare and the people around him. Plus, just like his moments with Prince Hal, Falstaff forms a father-son bond with Hamlet in this version, which is really fun to watch. It’s like they took everything bad about Falstaff and metaphorically ‘trimmed the fat.’
Hamlet (AKA The Shadow King in this version), is still brooding over the loss of his father, his murder of Polonius, and his loss of Ophelia. He has once again been thrust into a quest that he’s not sure he can complete- fighting King Richard, finding Shakespeare, and convincing him to help the heroes. That said, he is still capable of warmth, humor, and even romance (no spoilers).
MAJOR SPOILER ALERT
In Volume 2, Shakespeare is a jaded mentor figure who has retreated to an enchanted forest after failing to protect his creations. His arc is very similar to Luke Skywalker in The Last Jedi, in that he made a major mistake, failed to live up to the impossibly high standards people had for him, and hides away at the bottom of a bottle. He now has to choose whether to take responsibility for his creations or stay hidden away alone. I love this arc, I love the scene where he talks to Hamlet, and I love the way they develop his character.
It’s a small point, but with the exception of Falstaff and Viola, the comic characters in Shakespeare (at least in Volume 2), don’t have much to do. Feste and Sir Toby Belch appear as traveling players but they barely interact with the tragic leads. I think this was to keep the tone of the novel consistent, but honestly, I do kind of wish they had broken up some of the tragedy with some more comedy.
Recommendation: I’d recommend this book to all mature fans of Shakespeare, anime, Manga, D&D, or any kind of nerd stuff!
One of the most celebrated international film versions of Shakespeare comes from Japanese director Akira Kurasawa, (1910-1998). The innovative filmmaker is famous for combining Shakespeare with traditional forms of Japanese theater like Kabuki and Noh. Kurasawa’smost celebrated film was his film Throne of Blood, (1957), which was a fusion of Shakespeare’s Macbeth with Japanese Noh theater.
Shakespeare and the Civil War are forever linked. All the major players had a connection to the Bard, and some might surprise you:
1. Did you know US Grant played a woman in a Shakespeare play!
We rarely see images of the future general and future president without his well-kept beard, but if this apocryphal tale is true, Grant might have grown a beard after he was embarrassed by the reaction of his fellow soldiers during a performance of Othello, where Grant rehearsed the part of Desdemona:
That December, officers decided to stage “Othello.” They looked for someone to play the beautiful Desdemona. Grant was urged to try out for the part. He had a trim figure and almost girlish good looks; his friends called him “Beauty.” Though the costume fit perfectly, the officer playing the Moor couldn’t look at Grant without laughing. They sent to New Orleans for a professional actress to play Desdemona. After that, Grant grew a beard to hide his girlish good looks. He was “Beauty” no more.
#2. President Lincoln, Shakespearean Gentleman
I’ve talked before about how, to the South, President Lincoln was as big a tyrant as Julius Caesar, and how John Wilkes Booth was determined to cast himself as a real life Brutus
What you might not know is that Lincoln’s favorite Shakespeare play was Macbeth. I find a more fitting character for the compassionate and eloquent president would be the good King Duncan from Macbeth. According to Whitehousehistory.org. Lincoln quoted some lines about the good king’s death, a few days before his own:
On Sunday, April 9, 1865, with the war over, he was returning to Washington on the River Queen from City Point, Virginia, where he had visited the front, and he talked Shakespeare to his companions, read aloud to them, and recited his favorite passages from memory. He spent most of his time on Macbeth. “The lines after the murder of King Duncan. Lincoln’s companions were struck by the slow, quiet way he read the lines:
“Duncan is in his grave;
After life’s fitful fever, he sleeps well,
Treason has done his worst; not steel, nor poison,
Malice domestic, foreign levy, nothing can touch
When Lincoln finished, he paused for a moment, and then read the lines slowly over again. “I then wondered,” reflected one of his friends, “whether he felt a presentiment of his impending fate.”
If you choose to sign up for my Outschool class: The Violent Rhetoric Of Julius Caesar, I compare Antony’s speech, (which essentially started a civil war in Rome), with Lincoln’s Gettysburg Address. I also discuss John Wilkes Booth and his obsession with the character Brutus.
#3: Ex Confederates hid out in Shakespeare’s home town!
I was pretty shocked to learn this one, and it took a while before I found a decent amount of evidence to justify reporting on it here, but apparently a few ex confederates fled to England after the war, and took refuge at inns and houses in and around Stratford, including Royal Leamington Spa, which is a town just 12 miles from Stratford-upon-Avon.
I had scarcely become domesticated before the visits of the Confederates began, & we have now quite a little Southern Society. Mr & Mrs Fry of N. York, & Mrs Leigh reside very near us. Mr & Mrs Westfeldt also; but just now they are absent. Mr & Mrs Dugan, Mr & Mrs & the Misses Stewart, Mrs Hanna & Miss Reynolds, Mr & Mrs Clements, Mr & Mrs Skinner, Capt Flinn, & various others who are here, off & on, compose the little nest of Confederates in Leamington.
Nathaniel Beverley Tucker, US Consul, 1861
England was anti Slavery in the 1860s but they were also partners with the Confederates in the lucrative cotton trade. CSA president Jefferson Davis dispatched a number of ambassadors and negotiators to hopefully gain support from the English to help them fight the US in the Civil War.
Once President Lincoln signed the Emancipation Proclamation, England politely declined to aid the confederacy militarily, but Davis’ visits opened the door for Confederates in England, and that is why they wound up living in Leamington Spa.
While they were there, some purchased English warships to become part of the Confederate Navy. Some even got married!
1. Shakespeare and US Presidents: Whitehouse History.com
3. New York Times: John Wilkes Booth
4. Leamington History: “A Confederate Nest in Leamington.”