Tomorrow is the first session of my course on Shakespeaere’s tragedies! I’m so excited to teach this great group whom I’ve worked with before. To mark this occasion, I present this silly, catchy, and informative song about the tragic fates of Cleopatra, Juliet, Hamlet, and others.
If you want to sign up for this course or request a private session, you can do so at http://www.outschool.com, or by scanning the QR code below:
This is a 30 minute cartoon version of Macbeth originally produced for the BBC in 1992. It features Brian Cox as the voice of Macbeth (before he was the voice of McDonald’s), and Zoë Wanamaker as Lady Macbeth (before she was a witch who teaches at Hogwarts).
I like the way it portrays the horror imagery of the play in sort of a European-manga animation hybrid. Admittedly, there are better ones in the series, but this one is still pretty neat.
To check out other episodes in the series, view this playlist:
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.”
Today I pay tribute to a remarkable book written by a great actor, who has inspired me and countless others.
I was privileged back in 2011 to see Anthony Sher on stage playing is playing Edmund Kean in John Paul Sartre’s pastiche of Shakespeare entitled “Kean.” It was a very good casting because this actor very clearly had a lot of raw energy and at the same time charisma and wit. But at the same time, he also seemed to have tenderness, sadness, and insecurity behind his eyes. I didn’t realize it but this actor, Sir Antony Sher, who sadly passed away just last year, would change my life.
When I was still in college I knew that I was going to go to grad school, and I wanted to write a graduate thesis on Richard III. Through my research, I came to realize that this same actor produced what is still regarded it as one most acclaimed and influential productions of the play ever. In 1984, Sir Antony played an iconic Richard III at the Royal Shakespeare Company which was revolutionary for its raw energy, tragic emotions, and creative physicality. Mr. Sher played the role on crutches and was able to scuttle around the stage like a spider.
I feel very therefore very privileged that I was at Able to see him perform live and to research his performance for my thesis.
One of my greatest aids for this was Sir Antony’s own book about the process of writing Richard that he wrote while in the process of doing Richard, “A Year Of the King. It’s organized in the form of a diary and a lot of the pages are available for free on Google Books. I strongly recommend it. In this review, I’m going to praise his massive preparations for the role talk about the effects of the production going forward in future productions of Richard III.
In 1982, Sir Antony was playing the Fool in a production of King Lear with Michael Gambon, (the future Dumbledore from Harry Potte). During during the performance, Sher suffered a leg injury that required him to be on crutches for several months. In his diary, Sher records how angry being perceived as disabled made him feel. His physical therapy took place at the Remedial Dance Clinic, Harley St. Six months later in August of 1983 Sher was cast in Tartuffe with Bill Alexander as director, (who would later direct him again in Richard III). A chance meeting with Trevor Nunn, (who was the Artistic director at the time), put the idea of him playing Richard into Alexander’s head. After another meeting with Terry Hands, Sher was offered the role.
“The truth of the matter was I was terrified of the verse, ashamed of my inexperience with it and nursing a fear that I was trespassing anyway. Wasn’t classical theatre the territory of handsome, rich-voiced Brittish giants like Gielgud and Oliver, and out of bounds for little Cape Town newbies like me?”
Sher, Year Of the King, page 9
Fighting with Olivier
When Antony Sher approached the role of Richard in his 1984 RSC production, his first intention was to make his portrayal of Richard’s deformity and disability different from Laurence Olivier’s. Sher and Olivier believed Richard is both physically and mentally deformed, therefore, Sher’s massive preparation for the role included thorough research into the physical effects of real disability and a deep examination of its psychological effects. Unlike Olivier, Mr. Sher believed that Richard’s deformity was the key to understanding his character and that every aspect of Sher’s characterization stemmed from his interpretation of that deformity. This work produced a captivating physical characterization and a startlingly human re-conception of Richard’s mind.
Sher’s characterization of Richard’s body resulted in an image, which he referred to as “The Bottled Spider.” Richard had a massive hump in the center of his back, massive arms, and two crutches that fitted onto Sher’s forearms, allowing him to scuttle across the stage, giving the impression of a poisonous spider. Sher created this iconic physical characterization through a combination of textual research, sketches, medical research into real deformities, image research, and real-life experience. The guiding principles that Sher used in creating Richard’s deformity were creating a severely deformed character that the audience would identify with. At the same time, Sher attempted to create a physicality that he could sustain through the run of the show without major injuries (21 &30). According to Sher, the role of Richard III is legendary for crippling actors who sustain severe damage to their backs and shoulders (39). Thus Antony Sher’s Richard was physically designed to be both functional for the actor, and both realistic and remarkable for the audience.
The first step towards Sher’s physical characterization of Richard was going through the text for clues. Sher found several references to what Richard’s deformity looks like in the speeches of Queen Margaret, (unlike Cibber, Sher’s version kept the character of Margaret in the play). Margaret refers to Richard repeatedly as various beasts, alternating between Boars, hounds, and the bottled spider that would become so important to the final characterization. Before Sher settled on a spider as the animal Richard most resembles, he experimented with several others including boars, apes and bulls. Sher did several sketches of bulls, which he saw in a BBC TV program. Sher was attracted to bulls and their raw power and massive shoulders. Sher wanted an animal that was threatening and powerful to give his portrayal a ‘tragic dimension’ (64).
Having to say ‘I was born in South Africa’ stuck in my throat like a confession of guilt.’
Sher, p. 25
Another image from the text that Sher thought about repeatedly was the image of Richard’s hump as a mountain. When Richard refers to his hump as “an envious mountain on my back,” Sher thought back to the Lion’s Head mountain in Kingstown South Africa. Sher grew up in South Africa and visited there during apartheid. The mountain spoke to Sher’s notion of Richard’s raw, tragic power. Sher sketched the mountain several times, and combined it with other images of bulls and spiders and this became the overall concept for Richard’s hump- an image of thick power that simultaneously weighs down the figure of Richard, and gives him his strength.
I feel he should be severely deformed, not just politely crippled as he’s often played. Bill says one should identify with him: a man looking in from the outside and thinking, ‘I’ll have some of that.’
November 7, 1983
The most memorable part of Sher’s physical performance as Richard was the way he manipulated the two arm crutches that he wore for the first half of the performance. Sher’s Bottled Spider image mainly depended on his ability to manipulate the crutches. The crutches became part of Richard’s body (Cerasano 621) and, far from making Sher’s movements clumsy or stiff, they gave him the ability to transform himself into a strange four-legged creature that would move around the stage incredibly fast. Director Bill Alexander told Sher during rehearsals that he intended to use the crutches in as many ways as possible. For example, the crutches also served as a weapon because of Sher’s ability to swing them around like clubs. One chilling moment of the performance occurred when Sher’s Richard entraps lord Hastings (Brian Blessed) by folding his crutch-arm across Hasting’s neck; foreshadowing Richard’s later decision to chop off Hastings’ head (Cerasano 621).
The problem in playing him extremely deformed is to devise a position that would be 100 per-cent safe to sustain over three hours, and for a run that could last for two years. Play him on crutches perhaps? They would take a lot of the strain off the danger areas: lower back, pelvis and legs. And my arms are quite strong after months at the gym. Also I was on crutches for months after the operation so they have a personal association for me of being disabled. They could be permanently part of Richard tied to his arms. The line, ‘Behold mine arm is like a blasted sapling wither’d up,’ could refer to one of them literally. The crutches idea is attractive, too attractive at this early stage. Must keep an open mind on the subject.
Sunday Nov, 19, 1983
Physical therapist Charlette Arnold, helped Sher get into clinics for people with real disabilities. She also provided Sher with books on back disorders, which led Sher to choose the back disorder Kyphosis as the model for Richard’s hump. Kyphosis causes a large central hump in the back, which Sher immediately adopted because it resembled the mountain image of his sketches. Also, the central hump was different from Olivier’s side hump. Sher’s research on back disorders was of great use in the coronation scene in which he and Lady Anne appear with bare backs. Bill Alexander hired makeup artist Christopher Tucker to create a lifelike prosthetic for Richard’s back. The audience was thus forced to see Richard as a naked, deformed man, contrasted next to the beautiful bare back of his wife, creating a powerful moment that re-enforced Richard’s humanity. Sher would also use a humanistic approach to his portrayal of Richard’s mind, which, like Richard’s body, he developed through extensive research.
Psychology- Richard III on the couch
“In several copies I’ve looked at it’s called The Tragedy of King Richard the Third. Yet a tradition has evolved of playing it as black comedy. I’ve never seen anyone play Richard’s pain, his anger, his bitterness, all of which is abundant in the text. It seems to me that Richard’s personality has been deeply and dangerously affected by his deformity, and that one has to show this connection.
November 19, 1983 p. 30
In his research, Sher made the link between deformity and psychopathology. Unlike Oliver, who played Richard as a paranoic, Sher played Richard as a psychopath. In his research into psychopaths, Sher uncovered the idea that psychopaths often suffer childhood traumas. The text of Richard suggests that Richard’s mother hated him, and such a lack of affection could realistically change a boy into a psychopath. Through this probing of the text and research into psychology, Sher concluded that Richard’s deformity is a realistic source of desire for revenge.
Sher talked to his own psychiatrist, Monty Berman who provided him with insight into Richard’s mind. Monty helped Sher dispel the idea that Richard is a superhuman fiend. On the contrary, Richard’s persona is very similar to real live psychopaths. Berman theorized that the pain at being deformed, coupled with the violent upbringing Richard had living through the Wars of the Roses, could transform Richard into a remorseless killer.
Sher: “How do you explain Richard the Third then?” Monty: “Well, how did you feel when you were on crutches last year?” Sher: “I hated people staring at me.” Monty: “What did you want to say to them?” Sher: “F#$% off! What are you staring at?” Monty: “Precisely. Anger. Richard is revenging himself on the whole world, destroying a world he sees as hating him.”
Monty: “We treat the disabled appallingly. They come up against dreadful prejudice. The disabled person experiences frustration and if given the chance, will lash out.” Sher: “So are you saying Richard’s behavior is normal?” Monty: “Under the circumstances, absolutely normal.”
Sher and Berman also believe Richard has the humor of a psychopath- a sardonic wit that has no regard for the feelings of his audience. Sher looked at the parallels between Richard III, and serial killer David Nilsen, who would invite people over for tea and strangle them, and boil their heads on his stove. Nilsen once told police with Richard-like humor that; “Having corpses was better than going back to an empty house.” One could easily hear the same sort of gruesome wit in the phrase: “I do love thee so, that I shall shortly send thy soul to heaven,” (R3 I,i).
A psychopath like Richard kills in order to try and feel emotion; “Each murder is an attempt to release anger, an attempt at catharsis, and each time it is unrelieved. It’s like promiscuous sex without love. Each climax is less and less fulfilling so the appetite grows until it is insatiable.” Thus Berman allowed Sher to break with the tradition of playing Richard as a completely inhuman monster, and play him as a very real, very human tortured soul.
Although Antony Sher attempted to play Richard as a psychopath, his portrayal of Richard’s pain could become sympathetic. His observation of people in clinics and his own personal experience of being on crutches taught him about the cruelty that the disabled suffer. However, although he did very great work to try and understand the condition of being deformed and disabled, his portrayal was still an affected disability; an act. In the book “Framed: Interpreting Disability in Today’s Media,” the author speaks about how watching an able bodied actor play disability can actually alienate the audience from the character he is portraying. The performance is seen as an act, a novelty, not an honest representation of real people. One way to eliminate this barrier between character and actor is to cast a Richard who really does suffer from a disability or deformity. I’ve talked in previous posts about how last month’s Public Theater performance was a deliberate attempt to move away from theatrical illusion and re-contextualize Richard’s deformity in the form of race, and contextualize disability by letting actors with disabilities play the heroic parts, while only Richard was able-bodied.
In a way, like Olivier, Sher’s performance is a new monolith that actors must work hard to distinguish themselves from. He spent an entire year building his Richard from the ground up, experimenting with new ways to portray his deformities, his disability, his psychology, and of course, how he looks and moves onstage. Reading this book, an actor gets a great appreciation for all the work Sir Antony Sher included in this wonderful performance, and hopefully, the book will inspire new and creative ways to portray this character in the future.
Thank you for reading. If you want to see some of Sher’s physical and psychological techniques in practice, please watch the thesis presentation that I did at the Blackfriars playhouse below. If you are interested in signing up for one of my acting courses, click here. Thank you!
Last month, I took a short vacation to Las Vegas, where, as some of you know, I went to Area 15 and the Omega Mart Exhibit. I also visited the Las Vegas Mob Museum. I’ve been fascinated by the mob for years. The Mob (AKA The Outfit), has within its many threads a potent combination of corruption, seduction vice, and violence all hidden behind the veneer of honorable men who do what they feel they have to to protect their families and their communities.
Not surprisingly, while at the museum, I saw parallels between the history of organized crime and Shakespeare, specifically his most popular history play about a powerful family that takes over the crown of England in a brutal turf war, and then one of its most feared soldiers bribes, intimidates, and murders his way to the top; Richard III.
A Protection Racket: Feudalism vs. La Cosa Nostra
The structure of the mafia paralleled the feudal system. In a world where a police force didn’t offer much protection for marginalized communities, the mafia thrived by offering protection for these communities, (especially to immigrants and people of color in the 19th and early 20th century).
Much earlier than that, the feudal system of the middle ages, which started to crumble after Richard’s reign ended, was designed specifically so poor peasants could get protection from wealthy landowners after the fall of the Roman Empire. These lords offered the protection of their knights to these peasants i. Return for labor and a percentage of their income working the field. Like the mafia, these peasants paid tributes to their lords and these lords demanded loyalty. In the museum, there’s an interactive video where you can become a ‘made man,’ which means become an official member of a mafia crew. Like a king knighting a lord, this ceremony meant pledging your life to your superiors, and being at their beck and call no matter what. In addition, like medieval knights, mafiosos were not allowed to murder other made men without permission from their capo or boss.
However benevolent they might appear, In both cases the Dons and the medieval lords were extorting their underclass. Failing to pay tribute to their lords would cause the peasants to lose their lands, and any disloyalty to the mafia would be severely punished. These powerful, violent thugs used their private armies to intimidate the weak into giving them what they wanted.
Part II: The Two Families
To thoroughly explain the parallels between the Wars of the Roses and the mob, I need to make clear that Richard iii is more than just the story of one man’s rise to power, although there are also mafia stories that fit this mold such as Scarface, White Heat, and the real-life story of Al Capone.
As this hilarious “weather report” from “Horrible Histories,” makes clear, during the Wars of the Roses two powerful families, (each with a claim to the English crown) fought each other in a brutal turf war. As Shakespeare characterizes in his play Henry VI, Part III, the battles between the houses of York and Lancaster shook England like a mighty storm, and for a while it was hard to tell who would prevail:
Henry VI. This battle fares like to the morning's war, When dying clouds contend with growing light, What time the shepherd, blowing of his nails,1105 Can neither call it perfect day nor night. Now sways it this way, like a mighty sea Forced by the tide to combat with the wind; Now sways it that way, like the selfsame sea Forced to retire by fury of the wind:1110 Sometime the flood prevails, and then the wind; Now one the better, then another best; Both tugging to be victors, breast to breast, Yet neither conqueror nor conquered: So is the equal of this fell war.
Henry VI, Act II, Scene i
During the Wars of the Roses, it was King Henry’s incompetence and mental illness that gave the Yorkists the ability to challenge the House of Lancaster for the crown. In the 1920s, the passage of the 18th amendment, (which made alcohol illegal, and thus a profitable commodity for organized crime), that allowed the mob to rise to unheard-of power through illegally buying, distributing, and selling alcohol. As the photo and subsequent video shows, Prohibition largely led to the rise in organized crime in America, especially in Chicago. During Prohibition, the Italian Sough-side Gang fought for control of Chicago’s bootlegging trade and subsequently destroyed their competition from the Irish gangs through corruption, intimidation, and violence.
The Don rises- Richard Vs. Al Capone
Like the Italian and Irish gangs In Prohibition-era Chicago, the Yorkist and Lancastrian armies battled for the English throne. As Ian McKellen’s excellent movie (set in the 1930s) shows, Richard was instrumental in destroying the leading Lancastrians at the Battle of Tewkesbury, including Prince Edward and King Henry.
In Chicago, the most feared mobster soldier was Al Capone, who many scholars believe was responsible for killing off high ranking members of the Irish gang during the infamous St. Valentines Day Massacre, where the gang members were ‘arrested’ by South Side gangsters disguised as cops. As the Irish stood against the wall with their hands behind their heads, the phony cops pulled out Tommy guns from their coats and let out a hail of bullets on their unsuspecting quarry.
In Shakespeare’s play, the only Lancastrian to survive the war is Queen Margaret, wife to the murdered King Henry, and mother to the slaughtered Prince Edward. In this scene from Al Pacino’s “Looking For Richard,” she curses Richard for his cruel slaughters. It’s not surprising that Pacino was so drawn to Richard II that he starred in and directed this film. After all, Pacino is famous for playing mafia characters who slaughter their way to the top.
Once Capone killed the competition, he ruled a multimillion-dollar empire of bootleggers and maintained that empire through corruption, intimidation, and by constantly playing innocent, just like Richard himself.
Hypocrisy, Corruption and hidden violence
“Men in general judge more by the sense of sight than by the sense of touch, because everyone can see, but few can test by feeling. Everyone sees what you seem to be, few know what you really are; and those few do not dare take a stand against the general opinion.”
Both Richard III and mobsters are masters of double-speak, that is, seeming to say one thing and meaning something else. Look at this passage where Richard talks about killing his nephew, then denies it:
Richard III (Duke of Gloucester). I say, without characters, fame lives long. [Aside] Thus, like the formal vice, Iniquity, I moralize two meanings in one word.
Las Vegas: The town that bedded and abetted the mob.
After Al Capone’s demise and the repeal of Prohibition, the mafia found another vice to capitalize on: gambling. As the video below indicates, using their connections with the Teamsters Union and midwestern bookmakers, the mob in the midwest financed, built, and run almost every casino in Las Vegas, including The StarDust and the Hassienda. Once the casinos were built, the mob extorted millions of dollars from the casinos every month!
The profits from the casinos bought the mob even more power and influence, but this skim depended on making sure the bosses controlled their underlings, and defended their casinos from cheaters and snitches, which is why they defended their casinos through intimidation and violence.
Murders in The White tower and the city of sin.
“Simple, plain, Clarence. I do love thee so, that I shall shortly send thy soul to Heaven.”
—Richard III, Act I, Scene i
When Richard of Gloucester starts his quest to become king, he begins by convincing his brother King Edward to execute his other brother George. Richard bribes the murderers to kill George before the king can reverse the death sentence. Richard has thus eliminated another obstacle in his way, and gained two loyal followers who will do anything for his gold.
The mafia dealt the same way with traitors, stool pigeons, and anyone who tried to challenge the bosses. Look at this tour of the Mafia museum, where the grandson of the gangster Meyer Lansky starts by reminiscing about the glamourous lifestyle of Las Vegas mobsters, but the tour quickly takes a dark turn as Lansky II talks about how his grandfather ordered brutal executions for anyone who crossed The Las Vegas Outfit.
It was an enormously interesting trip going to the Mafia Museum, and if you can get out to Las Vegas, be sure to visit, (don’t forget the password to visit the speakeasy bar in the basement!) It was eye-opening for me how prevalent the sort of corrupt protection racket that started in the middle ages and continued into most of the 20th century helped define The Wars of the Roses and the mafia. As long as the strong prey on the weak and the law can’t protect everyone equally, these kinds of violent thugs will be lurking in the shadows, waiting for a shot at the crown.
Today is the first day of the January 6th hearings. January 6th is a day that history still bewares, because of the infamous day when armed, violent conspirators went to the Senate and attempted to overthrow elected rulers. For obvious reasons, this put me in mind of the heinous actions of another group of conspirators stormed another Senate and tried, to overthrow a stable republic.
January 6th, 2021 (which, coincidently, was Twelfth Night, one of my favorite Shakespeare-themed holidays), was a tragedy for multiple reasons. The protestors broke windows, destroyed furniture, defaced statues, broke into both chambers of Congress, and probably would have harmed lawmakers, in a violent protest of both the US presidential election and the Senate vote in Georgia that week.
Let me be clear, this was sedition and treason and everyone involved should be prosecuted to the full extent of the law. Anyone who says otherwise is blatantly attacking our cherished democracy, and spitting in the face of the rule of law. Unfortunately, Republicans in both chambers have been unwilling to condemn their actions for fear of alienating their base. If this is what the Republican party has come to, the party doesn’t deserve the name. A republic protects the right of the people to elect its representatives and dedicates itself to the peaceful transition of power. Left unchallenged, groups like this will bring anarchy and tyranny to our country.
How do I know this? Because it happened before. Shakespeare has long dramatized real historic events where people rise up against their governments (for better or worse). In all cases, whether protesting a famine, a war, or a cruel tyrannical usurper, the riots never accomplish anything except bringing chaos and bloodshed. Sometimes these ignorant rioters are goaded by charismatic powerful figures, but these upper-class characters are only exploiting the rioters, using their violence as a way to get power for themselves. So, let’s examine the language, tactics, and effects of rioters in three of Shakespeare’s plays: Julius Caesar, Henry VI Part III, and Sir Thomas More:
Example 1: Julius Caesar
As I covered before in my “Friends, Romans, Countrymen,” post, during Antony’s famous funeral speech, he galvanizes the Roman crowd, first to mourn Caesar, then to revenge his death. How do they do this? By burning the houses of the conspirators and rioting in the street. They even kill a man just because he has the same name as one of the conspirators:
What does this violence accomplish? Nothing. Caesar is still dead. Brutus is still alive (though on the run). Antony merely wished to punish Brutus, and get the mob to hate him while he secretly cheats them out of their money. In Act Four, Antony becomes the de facto ruler of Rome because he leveraged his performance at the funeral, and uses his newfound powers to take money away from the citizens that Caesar promised to give them in his will. He manipulated them for his own purposes and duped them for political power.
Example 2: Jack Cade in Henry VI, Part ii.
Henry VI is the only king in English history to be crowned twice, deposed twice, and buried twice (Saccio 91). As the play begins, King Henry has already lost France, lost his mind, and lost the respect of his people. Around 1455, John Hardyng wrote a contrast between Henry’s father and himself. He laments that Henry the Fifth died so soon and then exhorts Henry to keep the quarrelsome lords in his government from warring among themselves.
Withstand, good lord, the outbreak of debates. And chastise well also the rioters Who in each shire are now confederates Against your peace, and all their maintainers For truly else will fall the fairest flowers Of your great crown and noble monarchy Which God defend and keep through his mercy.
(Excerpt from Harding’s Chronicle, English Historical Documents, 274).
Henry’s political ineptness was why Richard of York challenged his claim to the throne. Though Richard had little legal claim as king, he believed himself to be better than Henry.
In Shakespeare’s play Henry VI, Part ii, York tries to get the people’s support by engineering a crisis that he can easily solve. York dupes a man named Jack Cade to start a riot in London and demand that the magistrates crown Cade as the true king.
York and Cade start a conspiracy theory that Cade is the true heir to the throne and the royal family suppressed his claim and lied about his identity. Cade starts calling himself John Mortimer, a distant uncle of the king whom York himself admits is long dead:
And this fell tempest shall not cease to rage Until the golden circuit on my head, Like to the glorious sun's transparent beams, Do calm the fury of this mad-bred flaw. And, for a minister of my intent, I have seduced a headstrong Kentishman, John Cade of Ashford, To make commotion, as full well he can, Under the title of John Mortimer.
Just like Cade and his rebels, the January 6th rioters were motivated by lies and conspiracies designed to crush their faith in their legitimate ruler. Even more disturbing, these rioters are pawns in the master plan of a corrupt political group. York doesn’t care that Cade isn’t the real king; he just wants to use Cade’s violence as an excuse to raise an army, one that he can eventually use against King Henry himself.
Similar to York’s lies and conspiracy-mongering, many Republicans have refused to accept the legitimacy of Joe Biden’s election, and some are actual proponents of Q Anon conspiracies!
A lot of Republicans deserve blame for fanning the flames of rebellion on January 6th, but arguably former President Trump deserves most of the blame. Even Rush Limbaugh admitted that Trump spread a huge amount of conspiracy theories without believing in any of them. He does this because he wants Americans to be afraid of imaginary threats that he claims he can solve. What’s easier to solve than a problem that doesn’t exist? Much like York, Trump tried to hold onto power by pressuring his supporters to pressure the Capital, feeding them lies about election fraud, and a secret democratic Satanic cult. Thus radicalized, they resolved to do what Cade’s mob did: “Kill all the lawyers.” Unfortunately, there are a lot of lawyers in the Senate.
As Dick the Butcher points out, most people don’t actually believe Cade is truly John Mortimer, they are just so angry at the king and the oppressive English government, that they are willing to follow him in a violent mob to take their vengeance upon the monarchy. This is why they try Lord Saye and execute him just for the crime of reading and writing! Similarly, the mob attacking the capital was made up of die-hard conspiracy adherents, and people just angry at the Democratic Party.
Like I said before, Cade and his mob is just a pawn in the machinations of York. Eventually the king’s enforcer, Lord Clifford convinces most of them to abandon Cade, and Cade himself dies a humiliating death- on the run from the law and starving, Cade is murdered by a farmer after trying to steal some food. After Joe Biden became the 46th President, many of the conspiracy group Q-Anon, who had many prominent members in the January 6th riot, began to disbelieve and abandon the conspiracies of the group. However, as this news story shows, some Q-Anon supporters are die-hard adherents and will never abandon their conspiracy theories, and some, like York’s supporters, are being recruited by other extreme groups. Sadly, as York shows, sometimes a riot is a rehearsal for another riot. In Shakespeare’s Henry VI, Part III, York finally amasses an army and challenges the Lancastrians in all-out war. Hopefully, the US government will hunt down and arrest these violent insurrectionists before they have the chance to do the same.
Example 3: Sir Thomas More
In the unfinished play “Sir Thomas More, a racist mob again attempts to attack London. This time they have no political pretenses; they want to lynch immigrants who they believe are taking English jobs. As I said in my “Who Would Shakespeare Vote For?” post, More’s speech is a perfect explanation of why this behavior cheapens and denigrated a country’s image, and weakens its ability to command respect from the rest of the world. Last time I posted a video of Sir Ian McKellen speaking this speech, but this time.. well just watch:
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