According to Branaugh, the idea behind the film was to emphasize beautiful things like tranquility and love, but preserve and heighten the danger of being hunted by a powerful warlord like the Duke
Interview with the director and cast at the Barbican
The Plot Of the Play
Historical Context
Branaugh set the film in 19th century Japan, at a time when English people came to Japan for the first time, and created small English communities in the country. I’ll discuss later that I have very conflicting feelings with this choice, but I will give Branaugh this- it does highlight the fish out of water journey that Rosalind and the other characters go through leaving their homes at court, and becoming enamored with a new country.
The Cast
The cast is full of veteran Shakespeareans and gifted Hollywood stars. Bryce Dallas Howard is charming as Rosalind, and has good chemistry with RSC actor David Oyelowo. I also enjoyed Brian Blessed’s dual role as Duke Senior and Duke Frederick. Kevin Klein is very sincere as Jaques but I wish he had a bit more fun with the over exaggerated melancholy that Jaques puts on. The overall effect of the performances is a sentimental, charming, beautiful, witty group of people who are having a fun time.
My Reaction
The cast is great, the cinematography is stunning, and the music is charming. Overall, Branaugh has done a great job of bringing the spirit of the play alive- that of a sweet, pastoral comedy about love, unrestrained by wealth or status. What I worry about though, is that Branaugh might inadvertently be celebrating colonialism. Yes, Japan is a beautiful country with a highly sophisticated and rich culture, so it makes sense that English people would be drawn to it. That does not justify the cruel way the English and Americans colonized parts of Japan, made the people mine for gold, and forced them to trade with the west. I worry that, like The Mikado, Branaugh celebrates Japan in a way that makes it seem like westerners were justified in taking so much away from it. I wish the plot had more of a “look but don’t touch” attitude to Japanese culture.
I also question the decision to cast barely any Asian actors. Given the story Branaugh wants to tell, it makes sense to cast non-asian actors as The Duke, Rosalind, Celia, and even Orlando, since they come to the forest from an English-style court. But the roles of Corin, Silvius, Audry, Phoebe, and even Old Adam are people who are supposed to be familiar with the country, meaning it would make perfect sense to cast Asian actors in these roles. Frankly, there are very few well known Asian actors in Hollywood and I would love to give some of them a chance to shine, especially since Shakespeare has long been a way for actors of all cultures and races to show their skills.
In conclusion, I can see why people like this movie and I too enjoy it, despite its questionable subtext. I don’t want to take away anyone’s enjoyment of the film, just to remind people not to be too seduced by the historical practice of taking something “As You Like It”
If you like this analysis, you might be interested in signing up for my Outschool Course on Shakespeare’s Comedies. Link down below. Share this class with a friend and you will get $20 USD off! You’ll also get $20 USD when you sign up with your link and take their first class!
Ages: Pre Teen- teen. The story is highly condensed so older readers might want a more in-depth adaptation to understand the themes and ideas of the plot.
Premise: This graphic novel is a good introduction to “A Midsummer Night’s Dream.” It tells the bare minimum of the story with very little dialogue and almost none of the original text. Most of the story is conveyed through the visual medium.
ABOUT THE ILLUSTRATORS (Reprinted from the graphic novel)
https://www.behance.net/berelince?locale=en_US Berenice Muniz is a graphic designer and illustrator from Monterrey, Mexico. In the past, she has done work for publicity agencies, art exhibitions, and she’s even created her own webcomic. These days, Berenice is devoted to illustrating comics as part of the CGraphikslava crew. In her spare time, “Bere” loves to draw, read manga, watch animated movies, play videogames, and kill zombies Fares Maese is a graphic designer and illustrator. He has worked as a colorist for Marvel Comics and as a concept artist for the card and role-playing games Pathfinder and Warhammer. Fares loves spending time playing video games with his Graphikslava comrades, and he’s an awesome drum player: https://faresmaese.artstation.com/
About the Retelling Author
The career path of Nel Yomtov has taken him from the halls of Marvel Comics, as an editor, writer, and colorist, to the world of toy development. He then became editorial and art director at a children’s nonfiction book publisher, and now Nel is a writer and editor of books, websites, and comics for children. A harmonica-honking blues enthusiast, Nel lives in New York with his wife, Nancy. They have a son. Jess.
mY rEACTION
I read this version to my five year old son and he enjoyed the colors and characters, which is why I feel confident recommending this version to younger children. It won’t help you pass a test on Midsummer and you won’t get the whole story. But you might get a tantalizing glimpse of Shakespeare’s world of fairies, lovers, and funny fools and honestly, that’s fine with me. As I’ve stated before, parody and short pop-culture adaptations of Shakespeare are great ways to connect with young people, and I see this book as a tool to do just that.
tECHNICAL eXECUTION
Character Design. It’s interesting to see the difference in style between this version, and the Manga Shakespeare version I previously read. That one was very much inspired by the Shoujo manga style, which emphasizes drama and relationships. This version’s drawings are softer, more cartoonish, and the expressions are less stiff, (except for Oberon, who is drawn very austerely). I particularly like the design for Puck with his big mischievous eyes and squat, childlike shape. I would argue however that the lovers and Mechanicals aren’t distinct enough, which is a problem since they are the most important characters.
The Adaptation
Like I said, this is a bare minimum adaptation of the play. None of Shakespeare’s text is used and the lines and speeches are cut liberally. The entire book is only 77 pages which of course means, that there are a lot of cuts. There’s no mention of the Indian boy, Titania’s tiff with Oberon, Philostrate, the other fairies, and all the great speeches are cut. This version is focused entirely on the plot, and it cuts it quite efficiently. To demonstrate this, below on the left is a panel that shows how Lysander and Hermia express their frustration with not being allowed to marry. On the right is the original text of the scene.
Ay me! for aught that I could ever read, Could ever hear by tale or history, The course of true love never did run smooth; But, either it was different in blood, Lysander. Or else misgraffed in respect of years, Lysander. Or else it stood upon the choice of friends, Or, if there were a sympathy in choice, War, death, or sickness did lay siege to it, Making it momentany as a sound, Swift as a shadow, short as any dream; Brief as the lightning in the collied night, That, in a spleen, unfolds both heaven and earth, And ere a man hath power to say ‘Behold!’ The jaws of darkness do devour it up: So quick bright things come to confusion.
The Colors
The colors are very beautiful. Other manga stories have colorful title pages but no color in the panels. This comic is alive with color and the colors help tell the story. Athens represents the world of the daytime, so the colors are very warm and vibrant. In the nighttime, the colors are cool and the characters are drawn with very sharp lines to make sure they don’t fade into the background.
IN Conclusion
This version tells l the story quickly and entertainingly with a vibrant and colorful style that was lacking in the Manga version. Granted, the Manga Shakespeare did allow me to focus on the text more, but I think I actually prefer this version, simply because of its beautiful artwork. Check it out if you get a chance!.
The popular Netflix show “Bridgerton”, takes place in England during the reign of King George III (reigned 1760-1820). This was a time of enormous cultural and political upheaval- less than one century after the monarchy was restored, with the American and French Revolutions taking place across the pond. This was an era of power and privilege for the aristocracy, but a time of great uncertainty for nearly everyone else.
Crash Course in Sentimental Comedies, the preferred theater of the late 18th century.
Shakespeare in this period was considered a bit old hat and too vulgar for the refined age of the 18th century. During the Regency, Sentimental Comedies were all the rage. These comedies and tragedies were designed to instill audiences with Catharsis or empathy with the characters, rather than get people to think or use their reason. Gone were the days of laughing at people’s humorous behaviors and more along the lines of pitying the poor fates of middle-class rustics. These poor characters remained good-natured at the cruelty of powerful aristocrats. This explains the popularity of such plays as Beaumarchais‘ The marriage of Figaro, or Mozart’s opera Don Giovanni, in which an evil aristocrat is ruining the lives of common people like the naive peasant Zerlina with his insatiable sex drive.
After the religious wars of the 16th century and the civil wars of the 17th century, early 19th century people were more disillusioned about the monarchy, especially after the seismic shifts of the French revolution and the American Revolution. This was the beginning of the end of the aristocracy, and even though we don’t see it in Bridgerton for comedy reasons, you can sense that the eponymous family is preserving their family and houses, rather than crown and country, which is one reason why the show still resonates with young people.
The Bridgertons might be aristocratic but they have no illusions about their own self-importance. They’re rich, yes but, like modern rich people, they don’t believe that they deserve their riches because of God- they merely fight to preserve their riches for their children, to find their daughters good love matches, and to survive the complex social Laviathon of eighteenth Century and Nineteenth Century England.
Popular Productions Of the Georgian Era
Georgian Shakespeareans
The Georgian Era was the first time in history that Shakespeare started to have a Global audience. French and German writers like Goethe, Schiller and Voltaire helped to kick off the practice of Shakespeare being translated and performed in non English speaking countries in the 18th century. In addition, Empress Catherine the Great brought Shakespeare as far as Russia with her 1786 production of The Merry Wives of Windsor. By the end of the 19th century, Shakespeare had been translated into French, German, Hindi, Hungarian, Italian, Spanish, and Danish (Downer, 468).
In England, however, with the trend towards sentimentality and accessibility, (as the video above mentions), the idea of adapting and modernizing Shakespeare became more common in this type period. What’s interesting is that, just when Shakespeare seemed to be on the way out culturally, people like David Garrick began to rehabilitate Shakespeare (McDonald 358).
English writers of the 18th century were trying their best to use Shakespeare as a tool of moral instruction.
Not only did Garrick create popular adaptations of Shakespeare, he also successfully made Shakespeare a cultural icon. Garrick’s famous jubilee of enthroned Shakespeare as the perfect example of english writing and the common man (even though most of his characters are aristocrats), the fact that Shakespeare was a common writer a not an aristocrat or a University educated man, actually benefited his reputation in the 18th century.
Even though Bridgerton prides itself on its colorblind casting and the black & white characters haven’t a shred of racial discrimination (except in the spin-off), this society is still plagued with sexism. What I find the most interesting about Bridgerton is that, like a Shakespearean comedy, the show’s conflicts center around how women navigate sexist patriarchal systems.
In Bridgerton, the London season and the annual balls are more than just a chance to to socialize and meet handsome young man, dance, and wear pretty dresses; they are the only hope that upper class women had for the future security of their houses. These systems were put in place because women were denied the ability to determine their own destinies. Though Queen Charlotte runs the social season, she is enforcing a patriarchal system; one that places a woman’s value entirely on her ability to charm and retain the affections of men.
the bridgerton ladies are extremely aware of this and you can see their anxiety every time they attend a ball. They know that their future depends on this and the show isn’t shy about that. So so like a Shakespearean heroine, the comedy and the central conflict is how these women will navigate this socio-economic gender-based political mindfield.
Cleopatra and her son CesareanPortia, wife of Brutus, swallow coals rather than be captured by Octavius.Beatrice from “Much Ado About Nothing”Cordelia Disenherited Jessica prepares to elope with Lorenzo Rosalind in “As You Like It”
What Shakespeare frequently does in his comedies is have women deliberately challenge or abandon this strict social structure. Young Shakespearean heroines frequently omen disguise themselves as men and/ or go traveling abroad so that they can find husbands and determine their own destinies. Shakespeare won’t Go So Far as to abandon the notions of marriage and childbearing, but he does create a sort of Female Fantasy: “wouldn’t it be nice to determine a one’s Future for oneself?”
Rosalind courts Orlando in As You Like It
In As You Like It, Rosalind, in disguise as a man, is able to dictate for herself the way that she marries and courts Orlando, which must have been shocking and hilarious for Elizabethans. Viola again disguised as a Man is able to criticize his outdated notions of women to his face, and disdains his repeated attempts to woo a woman who does not share his affections. Meanwhile Juliet, a woman whose arranged is dramatically portrayed from start to finish, abandons her father’s choice and marries for love. All these women have the same conflict as the bit bridgerton women they just confront them in more extreme way
Title Card- “The Violent Rhetoric Of Julius Caesar”Title for my Outschool class on Codes and Ciphers, inspired by the Disney show “Gravity Falls.”Digital business card for my online classes with a QR code if you want to know moreTitle art for my Outschool course on Shakespeare’s comediesCover art for my Outschool class: “Shakespeare- the Lost Play”Title of my Outschool murder mystery gameTitle image for my online course on “Romeo and Juliet.”Title card for my Outchool Intro To Shakespeare cs.Title art for my Outschool course on Shakespeare’s comediesTitle for my Outschool class in swords and Stage Combat.
Great online classes in Shakespeare and science are available for students all this month at Outschool.com.
From now until June 1st, you can get a $20 discount with referral code PAULHT20. Share the joy with other curious minds in the family too! Spread the word and let’s ignite the passion for learning together!
Class Descriptions
Live Classes
For these classes you meet with me live over Zoom:
Introduction to Shakespeare- Tuesdays 9-9:30AM (EST)
This is my 30 minute short and sweet intro to Shakespeare’s life, his plays, and why his work still matters to us today!
Intro To STage Combat (With SwordS)- Tuesdays 9:30-10AM (EST)-
Like the Intro to Shakespeare class above, this is an intro to the basic footwork, attacks, and defensive parries of swordplays for someone just begeinning to learn about swords.
Title image for my online course on “Romeo and Juliet.”
An Immersive Guide To “Romeo and Juliet- Tuesdays from 10-11AM (EST)
This multi-week course delves into the plot, characters and themes of “Romeo and Juliet,” while also providing interactive activities, virtual tours, and webquests.
Shakespeare’s History Plays- SaturdAYs 8:30 AM IST
This is a new course I’m working on to cover all of Shakespeare’s History plays including Henry V, Richard II, and Richard III. More info as it becomes available.
Asynchronous Classes
These classes are Flex Schedule, which means the teacher prepares the activities in advance and allows you to do them at your own pace without direct consultation.
A flexible schedule class that teaches kids the plot and characters of “Romeo and Juliet,” in the context of a detective story where you solve the mystery of the young lovers’ deaths.
Did you know that Star Wars is based on the ideas and writings of William Shakespeare? This class will teach you about writing and characters though games, interactive activities and dramatic readings of both Star Wars and Shakespeare!
Using self-paced online activities, your child(ren) will compare the plot and characters of Star Wars to Shakespeare’s plays. We will also discuss Shakespeare writing by looking at “William Shakespeare’s Star Wars” by Ian Doescher.
Course Description
Concept: To compare and contrast the plot, characters, themes, and language of Shakespeare’s plays with Star Wars
Student Description:
Epic battles, quests for revenge, pirates, funny characters, powerful warriors swinging swords. Star Wars has something for everyone. But did you know that in many ways, Star Wars is based on the ideas and writings of William Shakespeare? In this course we’ll peer beneath the veil of Shakespeare and Star Wars to find the universal stories of love, revenge, power, and growing up, using games, artwork, and dramatic readings by professional actors!
Did you know that Star Wars is based on the ideas and writings of William Shakespeare? This class will teach you about writing and characters though games, interactive activities and dramatic readings of both Star Wars and Shakespeare!
Course organization (the class is divided into 6 parts that students can complete at their own pace over a week-long period.
What parts of the Star Wars story are like Shakespeare’s plays?
Are Shakespeare and the Star Wars movies saying anything similar about war? Families? Growing up?
Lesson Objectives
To teach about the characters and plot of Star Wars by comparing them to Star Wars
To introduce the concept of archetypes, tropes,
Set the Scene
Star Wars is about an evil empire trying to take over the galaxy. They have more ships, more soldiers, and a fearsome weapon that can blow up planets. The rebels on the other hand, though fewer in number, are faster, smarter, and have the advantage of fighting for a good cause.
In addition, the story is about growing up- Luke becomes a Jedi Knight. He takes revenge on the man who destroyed his father.
The Players (slides)
Luke
Obi Wan/ Yoda
Vader
Leia
Han
R2D2 and C3PO
The Emperor
Words Words Words
Epic
Parody
Theme
Plot
Archetype
Character
Trope
Theme
Class 2: The Journey of Han and Leia
Han and Leia vs. Beatrice and Benedick
Show videos of Han before Leia
Plot summary of Much Ado
Clips of the bickering of Benedick and Beatrice
Read blog and look at the writing.
Activity- how would you write a love letter to Han or Leia?
Play the scene from Jedi
Unit 2- The Prequels and Shakespeare’s Histories
A Crash Course in Shakespeare’s Histories
The Rise of Palpatine/ Richard III
Emperor Palpatine in Star Wars rises to power through a combination of manipulation, intimidation, and by killing his opponents.
Bio of Richard III
Slide- Richard’s rise to power
Slide- Palpatine’s rise to power
Quizlet
Unit 3- The Verse of William Shakespeare’s Star Wars by Ian Doescher
What is William Shakespeare’s Star Wars
Introduce the plays
Explain how Shakespeare’s verse works
Look at the common verse elements
Sonnets
Show the chorus of “Verily a New Hope”
It is a period of civil war. The spaceships of the rebels, striking swift From base unseen, have gain’d a vict’ry o’er The cruel Galactic Empire, now adrift. Amidst the battle, rebel spies prevail’d And stole the plans to a space station vast,Whose pow’rful beams will later be unveil’d And crush a planet: ’tis the DEATH STAR blast. Pursu’d by agents sinister and cold,Now Princess Leia to her home doth flee, Deliv’ring plans and a new hope they hold:Of bringing freedom to the galaxy .In time so long ago begins our play,In star-crossed galaxy far, far away
Stychomichia
Half lines
Enjambment
Title Crawl (make a gif via Canva)
Side By Side Comparisons
Read/ watch segments of the play
To Be Or Not To Be
All the World’s a Stage
St. Crispin’s Day Speech
Try to turn a Star Wars line into verse, and then look at the reveal.
Unit 4- Literary Devices of William Shakespeare’s Star Wars
Using the educational guide, we’ll learn about the following literary devices:
Extended Metaphors (Luke’s green lightsaber)
Anaphora (Luke’s call to action in Jedi)
Premonatory Dreams (Calpurnia)
Stichomythia Richard III vs. Han and Leia
Unit5- The Hero’s Journey of Luke Skywalker
Class 1: What is a Hero’s Journey (Slides)
Learn a little about Joseph Campbell’s monomyth. using the Percy Jackson post, Crash course video about monomyth
Chart Luke’s monomyth journey
Activity- Mad libs- write a star wars movie!
Quiz on plot elements from the monomyth (Quizzes or Quizlet)
Class 2 : Hamlet and Luke Skywalker
Plot comparison
(use infographic)
Quote from Doescher:
Hamlet The Tragedy of Hamlet, Prince of Denmark is Shakespeare’s most famous play. It’s also the play I make the most references to in William Shakespeare’s Star Wars.
To Be Or Not to Be
Use my video about the speech to explain the structure
Note how Doescher repurpuses every line in the Star Wars Trilogy:
Sometimes it expresses fear:
Sometimes concern:
Frustration: “The whips and scorns of time”
Hope: “The undiscovered galaxy” “Tis a consummation devoutly to be wished.”
Activity: write your own paraphrase of Hamlet’s speech, using the 6 beats I provided.
William Shakespeare’s Star Wars is a series of parody plays written by Ian Doescher that takes the prose screenplays of the Star Wars story and transforms them into Elizabethan verse. Last time I mentioned how much I loved the cheeky references to Shakespeare and Star Wars, and how Doescher adapts the cinematic quality into Elizabethan drama very well. In my podcast, I also emphasized the way Doescher gives each character verbose Shakespearean language that works very well for radio and theater:
I must confess, Return of the Jedi is my favorite Star Wars movie. I’ve seen all 9 films and it’s still my favorite. I adore the effects, the tight storytelling, the emotional farewells, and the dramatic victories. What I want to do with this post, (and the accompanying podcast), is to see whether this edition captures what I love about Jedi. The short answer is- no. It doesn’t capture it, IT EXPANDS IT! In many ways this play is Doescher’s triumph- he manages to capture the tone and characters of Star Wars perfectly, and makes the Shakespearean style his own!
Notes about the play
The first play in the series, “Verily, A New Hope,” took plot and structure inspiration from Henry V; it tells the story as an epic heroic story of Luke’s heroic deeds, much like how Henry V is about a king who grows from boy to man.
The second play “The Empire Striketh Back,” takes inspiration from Hamlet and Macbeth to explore Luke’s temptation by the Dark Side of the Force. It also uses Much Ado About Nothing as an inspiration for the burgeoning relationship between Han and Leia
I would argue that “Jedi Doth Return” is a mixture of all the other plays Doescher took inspiration from. Unlike the previous plays, this feels less like a parody, and more like an adaptation. I feel that Doescher has finally become so comfortable writing in the Shakespearean style, that he rarely needs to flat out parody lines and speeches, and simply uses Shakespearean dialogue to tell the story.
Moments to Watch for:
The Language
I’ll discuss the language of Jedi in greater detail in my podcast, but I’d like to highlight one or two here.
Extended metaphors:
Vader: It is the role I play, my destiny— The grand performance for which I am made. Come, author of the dark side of the Force, Make me the servant of thy quill and write The tale wherein my son and I are seal’d As one. Come, take mine ev’ry doubt from me, And fashion from my heart of flesh and wires A perfect actor: callous, cold, and harsh. Let this, the second Death Star, be the stage, And all the galaxy be setting to The greatest moment of my narrative:
The scene in which the Empire’s fight is won Whilst I decide the Fate of mine own son - The Jedi Doth Return Act I, Scene i
3. Parody Lines
The biggest appeal of William Shakespeare’s Star Wars is the fact that it is a parody, and I’ve said for many years that parody and gentle riffing on Shakespeare is a great way to get students to overcome their fear of Shakespeare and engage with him. Students who know Star Wars but don’t know Shakespeare will recognize the familiar characters and plots of the movies and then see how Shakespeare’s language tells the story anew. Similarly, people who know Shakespeare will recognize the way Doescher re-tools famous Shakespeare quotes to give to characters in the Star Wars Universe, like here, where he spoofs the famous “All the World’s A Stage” speech:
In the Educator’s guide, which I’ve attached below, Doescher tells you exactly which lines he has parodied and the plots of the original plays so the students can learn about Shakespeare through these famous speeches. Orson Wells once said: “We sit through Shakespeare to recognize the quotations,” and this edition gives us thrilling space battle, wonderful characters, and witty dialogue to keep us entertained while we wait.
Characterizations
What I love the most about the movie and the play is that it’s a very character-driven story. Instead of long trench runs with pilots we’ve never met, we get duels to the death between characters we’ve known for years. At its heart, Jedi is the story of the Skywalker family reuniting after Darth Vader ripped it apart. It’s also the culmination of Luke growing from a boy to a man. Doescher does an incredible job voicing these characters through the verse, and his use of the language helps highlight each character’s struggle and journey.
Luke/ Vader
Left- production photo of Mark Hamil holding a skull Yorrick-style. Right- AI art I created of Luke as Hamlet.
Luke has more of a duality in this story- sometimes his speeches are hopeful, positive, and full of decisive language, while other times he is bitter, angry, and mournful. This is a perfect characterization for a young man whom the Emperor hopes to turn to the Dark Side, and these speeches excellently bring out his character. Sometimes Luke even repeats lines spoken by Vader and the Emperor just to drive this point home.
Emperor
A speech from “Jedi Doth Return.” Notice how the ideas run on past the ends of lines and how long each sentence is
As for Emperor Palpatine, his speech is similar to Claudius in Hamlet in the sense that he has many run-on lines that only get to the point at the very end. This man knows he has the ear of the entire galaxy, so he can afford to make people wait for him to finish talking. As Luke himself says: “Your overconfidence is your weakness,” and Doescher does a great job conveying that weakness through the language.
Leia/ Han
My favorite part of The Empire Striketh Back was how Doescher conveys the love between Han and Leia. In that play/ movie, it was done through irritating each other in public, and soliloquizing in private. In Jedi, Han and Leia are more of a couple, supporting each other in their fights and the language has more of a romantic tone.
Han (Hal Jourdan) and Leia (Janine Ashley) finally confess their love in this scene.
My Criticism
To sum up, Jedi is a milestone in the William Shakespeare’s Star Wars Series where Ian Doescher learned how to make the language his own, rather than borrowing lines and phrases from Shakespeare. It’s a pity there aren’t more books in this series…. right?
If you enjoyed the accompanying podcast episode to this post, please consider subscribing and donating to help me continue making fun and educational content like this!
Me singing “Brush Up Your Shakespeare” in honor of the Bard’s birthday, 2025
Today, April 23 is the established birthday of William Shakespeare! Today I’ll share some of my favorite posts, videos, podcasts, and quirky recipes related to Shakespeare!
Happy 9/25! If you’ve never watched the 1980 movie 9 to 5 before, it’s a wonderful classic comedy, and of course, it’s a great way to honor the incomparable Dolly Parton, who played Dora Lee. Today I’d like to discuss the plot and themes of this movie, and compare them to classic Shakespearean comedy. The Plot… Read more: If Shakespeare Wrote 9 to 5
Happy Battle Of Actium Day! On this day in 31BC, Marc Antony and his Egyptian army faced off against the might of Octavius Caesar! Here’s a documentary to explain more:
On August 25th, 2026, the world lost an incredible performer. Notable for his film roles in Clue,Muppet Treasuren Island It, the Rocky Horror Picture Show, as well as countless voice-over roles in film, TV, and audiobooks, Mr Curry had an incredible onstage personality and a versitile, commanding voice that landed itself well to slimy villains,… Read more: Review: Tim Curry as William Shakespeare
You might have read my previous post about Locrine and Humber from that play. Well, today I will continue this series by discussing the other character I play, the mythical founder of Britain, King Brutus. Now before you ask- NO, THIS IS NOT Marcus Brutus, the man who stabbed Julius Caesar. This Brutus actually lived… Read more: Crafting A Character: Brutus from Locrine
On August 11th, 1596, Shakespeare lost his only son. This very day, 2026. I sat down to watch the movie about him. I will compile my thoughts into a complete review in a while, but for now, let’s just say, it was absolutely incredible. Biography of Hamnet Just like his famous father, we know very… Read more: How Accurate is Hamnet Part III: The Movie
Special Promo!
Some of my Shakespeare classes on Outschool.com
Get $10 off my classes with coupon code Get $10 off my classes Wizard Science for Kids!” with coupon code HTHES4KG1E10 until May 23, 2026. Get started at https://outschool.com/classes/wizard-science-for-kids-KmqzT8U0 and enter the coupon code at checkout.
For my Shakespeare club, my actors and I are reading William Shakespeare’s Star Wars: The Empire Striketh Back. We started staging the scene today and I’d like to publish some of our work and our discoveries going through the text.
The Scene In Context
Han and Leia have a fight before he leaves in “The Empire Strikes Back”
The scene is the first moment where Han Solo and Princess Leia display their repressed feelings for each other. Han wants to stay with Leia, but he has a bounty hunter trying to hunt him down. Also, Leia has not directly given him any sign of affection, (though Han suspects that she does have feelings for him). He wants her to ask him to stay, not because of his service to the rebellion, but because she loves him back.
Ian Doescher’s Version
Leia And Han, Act I, Scene ii [Enter Han SL, Leia enters after. stops. L: Han, halt! H:[Turn to her, bows] What is thy pleasure, Highness? L: I did believe that thou had chos’n to stay. H: [Center Stage turn out] The bounty hunter we did meet on Ord Mantell hath chang’d my mind L: -We need thee Han. H: [Turn to her] What “we?” Why speakest thou of “we?” (circling her) Dost thou in royal terms speak her of “we?” (Hands on shoulders) Hast thou a rodent in thy pocket such That thou and he are “we? (holding her hands)” What meanest thou? What need is there that thou dost share with all? [moving her center stage] [Turning to audience] Speak not of “we,” but “I.” O princess, what Dost thou most need? Not “we,” not “they,” but thou? L: [Turning to him] I know not what thou speakest of. H: [pointing at her] - ‘Tis true. Most probably thou dost not know thyself. L: Thy vanity [takes his pointer finger and points it to the sky] Hath puffed up thine imagination. H: -Aye? (Smiling) Then why doest thou yet follow me? Wert thou Afraid I would depart without a kiss? [He stands behind her, looking at her as if he's about to kiss her cheek. She steps on his foot] L: I would as eagerly kiss Wookie lips. H: That can arran`ed be. [He turns SR, starts to leave, then turns back to her.] By heaven’s breath, A kiss would suit thee well! [Exits SR}
My podcast episode about the scene
Like Han in the original script, Doescher latches on to the fact that Leia says “We need you Han,” instead of “I need you,” (which would confirm Han’s suspicions that she has feelings for him). Doescher’s Han has a mocking speech where he tries to coax Leia into saying what she truly wants from him. In both versions Leia, (annoyed with Han’s childish behavior), retorts by saying that she would rather kiss a Wookie, but in Doescher’s version, she also has a soliloquy where, like Beatrice in Much Ado About Nothing, she laments that she would admit her affections if Han could put his ego aside and woo her gently, instead of his accustomed taunts and mockery.
The Verse
If you read my review of the first Shakespeare’s Star Wars play, you know that Doescher put almost every line in iambic pentameter- the standard verse for Shakespeare that has 10 beats per line. I like to call verse the heartbeat of a character and iambic pentameter is sort of a baseline for a character who is calm or in control of their emotions. What’s great about this scene is that Doescher intentionally breaks from the norm of iambic pentameter, which is appropriate because these characters are bubbling with emotions; anger, jealousy, fear, and of course, love.
Leia’s Verse
Leia only has two regular verse lines- right after she enters and right before she leaves:
L: I did believe that thou had chos’n to stay. Leia is a princess, used to giving orders and being obeyed. Accordingly her first line is a simple two word command "Han halt." Then Leia clearly. simply, and in standard iambic pentameter, asks Han to explain why he is going. From that point on, none of her lines are 10 syllables long- they either complete his or his lines complete hers. This kind of rapid-fire call and response is called Stichomythia, and it indicates how intelligent these characters are, how passionate they are, and how impatient they are with each other. It's not unlike some of Shakespeare's other great lovers like Beatrice and Benedick, or characters who dispise each other like Richard III and Lady Anne:
Notice that in this “keen encounter of wits,” the characters talk on top of each other. The verse lines indicate that Han and Leia need to keep topping each other and pick up the tempo. This helps convey how frustrated Leia is with Han and is trying to get him to get to the point! The only other regular verse line is her coup-de-gras at the end where she says “I would as soon kiss Wookie lips!” At that point, she’s done talking to Han and just wants him to go, and the verse reflects her decisive choice.
Left- Ruiz Burgos “Princess Leia & Han Solo” Right- Juliet by Philip H. Calderon (1888)
However, as you can hear in the podcast, alone in soliloquy, Leia reveals to the audience that she is still conflicted with her feelings for Han- listing all his best qualities like his hands, his face, his eyes, etc. This rhetorical technique is called anaphora, and it helps Leia build in excitement getting lost in Han’s attractive qualities. For my staging of the scene, Leia puts her hand on her cheek while standing under a balcony to emulate Juliet’s famous musings on Romeo:
Juliet. ‘Tis but thy name that is my enemy; Thou art thyself, though not a Montague. What’s Montague? it is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man. O, be some other name! What’s in a name? That which we call a rose By any other name would smell as sweet; So Romeo would, were he not Romeo call’d, Retain that dear perfection which he owes Without that title. Romeo, doff thy name, And for that name which is no part of thee Take all myself. – Romeo and Juliet, Act II, Scene ii.
Han’s Verse
While Leia’s verse is quick and direct, Han’s is slower and longer. His sentences spill over from one verse line to another because he’s taking his time. Again, his objective is to basically “neg” Leia into admitting that she loves him, so he’s enjoying goading her. He’s sort of like Benedick in Much Ado About Nothing, though Han speaks verse and Benedick speaks prose:
Han’s Extended Metaphor
Again, Han’s goal is to tease Leia into admitting that she loves him, so when she says: “We need thee Han,” he feigns ignorance and asks her to clarify her phrasing- going through all the permutations of “we” (including the colloquial, “Do you have a mouse in your pocket?”) to get her to specify what she means by “we.” If you look at Doescher’s official education guide for the William Shakespeare’s Star Wars series, you can see how Shakespearean characters often go into lengthy metaphors or comparisons to explore an idea or theme:
As I was writing William Shakespeare’s The Empire Striketh Back, I was surprised to realize I had made more references to Shakespeare’s Much Ado About Nothing than any other play. Much Ado is a comedy—probably my favorite of Shakespeare’s comedies—so it was strange that lines from it kept popping up in the darkest of the original Star Wars® trilogy. –
Both of my actors are female and obviously, they aren’t Carrie Fisher or Harrison Ford. Since this play is a parody of the original Star Wars, I wanted to incorporate some physicality and vocal elements, without telling them to impersonate the Star Wars actors.
Han
Harrison Ford is much taller than Carrie Fisher and he uses his height to mock and irritate her. He also crosses his arms and points his index finger at her frequently in this movie, so I used that in the blocking. He also has a “cowboy stance”- legs apart, slight bend in the knees, slow, deliberate gait. Ironically, another man who has this kind of walk is David Tennant in his performance as Benedick in “Much Ado About Nothing.”
David Tennant and Catherine Tate in “Much Ado About Nothing,” Act I, Scene ii.
As for Carrie Fisher, she has a faster pace and keeps her arms close to her body. She looks like a ball of stress and anxiety, which is appropriate. After all, not only is she going to lose the man she loves, she’s under attack from an empire and living on a cold, dark planet made of ice! I told my actor to put these characterizations into her performance to not imitate Carrie Fisher, but to get the essence of how her emotions affect how the character moves and speaks. That’s the difference between acting this scene, and just doing impressions of the original actors.
I’m excited to see how my actors bring these techniques to life, and I hope you have enjoyed this little insight into how Doescher’s writing once again pulls back the curtain on how Shakespeare used his verse to show the hearts of his characters!
