I’ve been in this play three times and I’m continually struck by how fun, romantic, and progressive it is. It raises questions about gender roles, social norms, bullying, and even catfishing and heteronormativity! It’s a fascinating and thought-provoking play and it’s my favorite of Shakespeare’s comedies!
Shakespeare’s early comedies are about young love, infatuation, and being ‘madly in love’ (sometimes literally). His middle plays are about mature relationships between men and women and the need for commitment. I would argue that Twelfth Night, (and possibly Much Ado About Nothing), are the best examples of Shakespeare telling meaningful stories about romantic relationships.
In honor of “Twelfth Night,” I’ve created a coupon for my course on Shakespeare’s comedies from now till January 31st: Get $10 off my class “Shakespeare’s Comic Plays” with coupon code HTHESYTIT110 until Jan 31, 2023. Get started at https://outschool.com/classes/shakespeares-comic-plays-868BR5hg and enter the coupon code at checkout.
To finish I wanted to give you a complete production of Twelfth Night for your viewing pleasure, but I can’t decide which one, so I will post a bunch today!
1. 1996 TV movie starring Geoffrey Rush (Pirates of the Caribbean)
I’m delighted to share with you my recommendations for the best Hamlets committed to film! I was pretty strict with my criteria which left a few Hamlets out, so if I missed yours, let me know in the comments.
In order to make this list:
I have to have seen the whole thing. Sadly that excludes a lot of unfilmed productions or films I haven’t got around to seeing.
The interpretation has to take a unique stance on the play.
The actor has to have a clear grasp of the part.
I personally have to like it. This is subjective, and I will make it clear if something is my opinion, or if I think this interpretation works for classes or private viewing.
By the way, if you’re a teacher, I’ll be sure to mention which productions work for classes, and which, for whatever reason, do not. I also can recommend Common Sense Media to give you a good idea what age group this film works best for:
So, without any further adieu (get it?):
The Good Hamlets
#10: Arnold SChwarzenegger in “Last Action Hero”
I would love to do a full review of this movie. When it works, it is actually a thoughtful deconstruction of the action movie genre, and as this clip shows, the movie concedes that Hamlet was actually the first great action hero. Schwarzenegger is really funny as an action movie parody of “Hamlet,” and everything he does is pretty cathartic for bored school boys who have to read the play in class. Plus, as a funny easter egg, the teacher in the scene who is showing Olivier’s Hamlet on the screen is played by Joan Plowright, who played Gertrude IN THAT FILM, and was married to Olivier in real life!
#9: Bart Simpson in “Tales from the Public Domain”
It’s absolutely astonishing how many Shakespeare easter eggs are in this little episode! How they make fun of medieval history, (the Danes were in fact Vikings in the early middle ages), Elizabethan theater, (when Bart does a soliloquy and is surprised that Claudius can hear him), and the way they compress Shakespeare’s longest play into a five minute episode is masterful satire.
In addition, the cast is perfectly chosen among the Simpsons’ core cast. Long-time viewers know that Moe has wanted to sleep with Homer’s wife for years, so making him Claudius is a brilliant choice. Plus, Dan Castellaneta steals the show with his over-the-top performance as the ghost, which actually reminds me of a 1589 review of Hamlet by Thomas Lodge:
“[He] walks for the most part in black under cover of gravity, and looks as pale as the vizard [mask] of the ghost who cried so miserably at the Theatre like an oyster-wife, Hamlet, revenge!”
THOMAS NASHE, “PREFACE” TO ROBERT GREENE, MENAPHON, (1589)
In any case, this clip is a great way to introduce anyone to Hamlet and I highly recommend it.
#8: Austin Tichenor in “The Complete Works of Shakespeare- Abridged”
This show is very special to me- in around 1997 my parents went to England and brought home a copy of The Complete Works of Shakespeare (Abridged). I’d only read “Romeo and Juliet” previously and through this show, I gained an appreciation for all of Shakespeare’s plays. Seeing the plays through parody made them seem less lofty and stuffy, and made me want to see and read the original works. This is especially true for “Hamlet,” which occupies the second half of the show, where Hamlet is portrayed by Austin Tichenor.
Tichenor wins my award for “Hammiest Hamlet,” which is just delightful to watch. He clearly takes the part WAAAY too seriously, as evidenced by how emphatically he demands solemn silence from the audience while he attempts to do “To Be Or Not To Be.” Tichenor also serves as the pedantic straight man who tries to keep the show moving and academic, while mediating between his bickering co-stars Adam and Reed. This wonderful Three-stooges dynamic makes every minute of the show fun and frenetic. However, the cast makes it very clear that they are making fun of Shakespeare with love; they never mock the play, they inform as well as entertain, and occasionally they even move the audience as Adam does at the end. In short, this show helped me form my approach to Shakespeare, and it’s largely through Tichenor that I read Hamlet at all, so he’s to blame for this website.
#7: Richard Burton, 1964 (stage production directed by John Gielgud).
With the advent of TV and film making theater seem obsolete, directors knew they had to do something drastic in order to get people to come to the playhouses. Enter John Gielgud, one of the greatest Hamlets of the early 20th century, who directed Richard Burton in a highly-acclaimed production with minimum sets and with actors wearing rehearsal clothes. The idea was to let Shakespeare’s words and the actors’ performances be the focus, and save spectacle for film and TV. This approach has been adopted by many theater companies since, including a few I’ve been a pat of.
Burton has a lot of energy and manic physicality in his portrayal and it makes his Hamlet engaging to watch. Plus Gielgud himself as the ghost is almost operatic to hear. I highly recommend any theater fan to watch it, though it might not translate in a classroom much.
# 6: Laurence Olivier, (Film 1948)
I have my issues with Olivier as an actor and apparently I’m not alone:
I find Olivier’s acting over-the-top, lacking in emotion and subtlety, and I think his directing is generally self-centered. He rarely deigns to give close-ups to anyone but himself and a lot of the scenes he directs are filmed like stage plays. That said, Olivier’s Hamlet is really good. SIr Laurence talked to Ernest Jones about the theory that Hamlet might have had an Oedipus Complex and created a unique and well-thought-out interpretation for his Hamlet. First off, casting his real-life wife Joan Plowright as Gertrude, fills the Closet scene with uncomfortable tension. He also did a great job making the ghost seem as imposing and accusatory as possible, as well as making Claudius as disgusting as possible.
You get the idea that this film is how Hamlet sees the world with its dark and shadowy towers, representing Hamlet’s melancholic mind, his imprisoned spirit, and his dark desires. Also as many people have pointed out, Gertrude’s bed chamber looks like a female organ, making the Oedipus theory even more explicit.
Even I have to admit that Olivier nailed the “To Be Or Not To Be,” Speech. He squirms at his own Oedipal fantasies, and contemplates jumping off the battlements in a captivating and subtle way. The performance and cinematography is iconic, and it makes me grudgingly admit Olivier, for all his faults, is still one of the best Hamlets of all time.
I would recommend this film to every Shakespeare film fan and any hardcore Shakespeare scholars. I would caution against showing the whole thing in a class however, since it’s black and white, and again, I find Oliver’s delivery very old-fashioned.
#5: Paul Gross, (StratforD Festival, 2000)
Thus far, I’ve mainly reviewed British and American Hamlets. Paul Gross is one of Canada’s most celebrated actors who gained fame as one of the best Hamlets at Toronto’s Stratford Festival. Unlike most Hamlets who go for the humanistic prince version of Hamlet, Gross plays him with sort of an animal intensity, like a wounded bear who will growl at you if you get in his way.
I have to admit I broke my own rule with this one- I haven’t really seen Gross’ portrayal, but I believe I saw it well-represented in his role as Geoffery Tennent, the Shakespearean Actor-turned madman-turned director in the Canadian TV show “Slings and Arrows.” This amazing dark comedy portrays the ins and outs of a Shakespeare Company from the normal problems of mounting a play to backstage drama, even the funding and marketing gets focus! Basically, the show is The Office for Shakespeare nerds, except for one ghostly cast member (no spoilers).
4. Benedick Cumberbatch / John Harrell
I couldn’t make up my mind between these two Hamlets, so I’m listing them together (guess that makes me Hamlet too). One is one of the most accomplished Shakespearean actor in recent memory, an RSC alumn, and a Hollywood star to boot, Benedick Cumberbatch.
Both these actors have similar strengths- they’re both tall and imposing with aquiline features. They are also highly physical performers. I talked in my lecture on Richard III about how Harrell performed the role of Gloucester with his legs tied together and a bowling ball strapped to his hand. Appearance-wise- Harrell and Cumberbatch are so similar, that it’s actually a joke at the ASC that they must be long-lost twins.
That said, when it comes to their approach to Hamlet, these two actors couldn’t be more different. Cumberbatch focused on Hamlet’s emotional turmoil- he was tortured and angry, full of youthful angst and volatility. This particular production is sort of an anachronistic mash-up of modern and period, which gives it a sort of dream-like quality that I really enjoy. Like Richard Burton, the director knows how to stage a play differently from a movie or TV show, which is especially important with this actor, since we can see him on all those platforms.
Nor should they have. Full of scenic spectacle and conceptual tweaks and quirks, this “Hamlet” is never boring. It is also never emotionally moving — except on those occasions when Mr. Cumberbatch’s Hamlet is alone with his thoughts, trying to make sense of a loud, importunate world that demands so much of him.
John Harrell on the other hand is a more mature and subtle Hamlet, more interested in saving his hide than contemplating his navel. This Hamlet masks pain with humor and sardonic wit and it translates to all his relationships with the King, Queen, and courtiers.
Rather than a sour, dour, morose, obtuse, naval-gazing Hamlet, this prince was cunning, cynical, devious, sarcastic, and very much enjoying his feigned madness, his chess game with the king, and his fencing bout with Laertes.
OK, I have to admit that I didn’t see this whole production either, but it’s so cool and the acting is so good I wish I had! Papaa Essiedu is an electrifying blend of wit, sadness, manic excitement, and rage. His fresh take on a role that can be rather dour is why even the little I’ve seen of his performance makes it one of my favorites!
#2: David Tennet, RSC 2009
Tennet does an incredible job of encapsulating Hamlet’s quick wit, giddy excitement, frailty, fury, and frustration, especially with himself. I love the fact that he does “To Be Or Not To Be” in a superhero T-Shirt. In a way, this Hamlet is constantly wishing he was more of the action-movie type that Schwartzenegger parodies at the top of this list. Like Harrell, Tennent’s Hamlet masks his pain with humor, but you can see him struggle with it and try to pull himself out of despair. All these Hamlets find a way to nail at least one aspect of the character, but Tennet in his short 3 hours on the stage, manages to highlight all of them.
I recommend this version for any viewer in any classroom. It’s beautifully shot, extremely well acted, fast-paced, funny, and exciting. I cannot recommend it highly enough.
Honorable mentions: Anton Lester, Ian McKellen, MiChelle Terry, and Sir John Gielgud
I haven’t seen any of these Hamlets and have been unable to locate any clips, but I have the deepest respect for all of these actors, so I thought I’d highlight them here.
I’d also like to give special mention to Michelle Terry. Gender-blind productions of Shakespeare get a lot of flack that is undeserved, and there’s nothing wrong with a female Hamlet. To quote Geoffrey Tennet in Slings and Arrows: “Shakespeare didn’t care about anachronism, and neither should we.”
I didn’t include Ms. Terry in this list, simply because I wasn’t able to get to the Globe, and I wanted to focus on productions that people can watch for free. If you wish, you can watch her 2018 performance on the Globe Theater’s steaming website:
You probably saw this coming. I’ve made it clear in other posts that I absolutely love Branaugh’s Hamlet, after all his film was one of the first Shakespeare movies I ever saw and the first one I really enjoyed. I discuss in detail why I love this movie the best in my review of the film, but to summarize, I think the direction is incredible, the music is excellent, the cast is nearly perfect, and Branaugh himself puts a huge amount of love, craft, skill, experience, and maybe a little madness into his portrayal of the character. I know Branaugh isn’t everyone’s cup of tea; other Hamlets on this list might be more enjoyable, fun, or subtle, for you. But for me, Branaugh’s will always be my favorite.
I love Game Of Thrones! If you’ve ever read the books or seen the series on HBO, like me you might be amazed by the scale and complexity of the world author George RR Martin created. He wove together a rich tapestry of medieval history, legends, and yes, Shakespeare. He used some of Shakespeare’s plots, commented and expanded on his themes, and adapted some of his iconic characters into a very rich and in a way, very modern story.
Since the prequel series “House Of The Dragons” premieres today, I’m going to examine the components of Martin’s narrative that he embroidered off of Shakespeare’s plots, themes, and characters. If you like my take on this, or if you disagree, please leave a comment below! If you have any suggestions for other popular works adapted from Shakespeare, let me know and I’ll review them on the blog!
Part I: Story
Shakespeare wrote four plays that chronicle a series of civil wars where powerful families battled each other for the crown of England. Like Game of Thrones, the conflict was mainly between the kingdoms in the North and South:
Shakespeare’s three parts of King Henry VI and Richard III chronicle the real struggle between the Yorkists in the north to take the crown from the Lancastrians in London in the South.
Part II: Themes
Power corrupts, especially those who go seeking it.
The death of chivalry and honor in favor of political backstabbing.
King Henry VI has a speech where he watches a great battle while sitting on a molehill, watching the tide turn back and forth between his soldiers and the Yorkists. As with Game Of Thrones, the more blood each side has on its hands, the harder it becomes to decide whom to truly root for. In the end, it doesn’t seem to matter- kingdoms are won and lost as arbitrarily as a game. All it takes is time, and a good player to win.
The silence of the Gods. Shakespeare’s King Lear is constantly making oaths to his gods and asking them to punish his enemies. Likewise, Lear’s friend the Duke Of Gloucester, places his faith in the gods to protect Lear and punish the usurpers Goneril and Regan. Nevertheless, the action of King Lear doesn’t show any kind of divine judgement- Lear is exiled, goes mad, is sent to prison, and finally dies. Gloucester loses his sight, his lands, and dies randomly right after he is re-united with his son Edgar. In both King Lear and Game Of Thrones, there is a persistent question as to the nature of the gods, or even the surety of their existence.
King Lear mourns Cordelia’s death by
James Barry, c. 1786.
No where is this more apparent than at the end of the play King Lear, when, just as it seems that the Duke of Albany is about to reward the good people and punish the wicked, King Lear arrives howling, with the dead Cordelia in his arms. “Is this the promised end?” in horror at the gods’ apparent cruelty. https://youtu.be/7acLWsal1FU
In Game Of Thrones, the good characters pray to their old gods and new, but never seem to hear from them or sense their influence. Osha, the Wildling even suggests that the gods have no power in King’s Landing, where the special God’s Wood trees have been cut down.
Part III: Characters
Below is a list of my favorite GOT characters, with my interpretation of their Shakespearean roots.
Ned Stark- Humphrey Duke of Gloucester from Henry VI, Part II
Duke Humphrey is a Yorkist from the north of England, just as Ned is Lord of Winterfell, a powerful kingdom in the north of Westeros. King Robert makes Ned Protector Of the Realm when he dies, which makes him king in all but name, and tasked with taking care of Robert’s young son Joffrey until he comes of age.
Portrait of the historical Humphrey, Duke of Gloucester from the National Portrait Gallery, artist unknown.
In Shakespeare’s Henry VI trilogy, King Henry the Fifth makes his brother Humphrey Lord Protector before he dies, to take care of England until his infant son Henry VI comes of age to rule. Like Ned, Humphrey is loyal, blunt, and only interested in keeping the realm at peace. In both Westminster and the Red Keep, all the lords are conniving and ambitious, and only interested in advancing themselves politically. These two lord protectors are the only ones with the good of the kingdom in mind.
Both Ned and Humphrey are betrayed and executed by those ambitious lords around them for the same reason; they stand in the way of the lords in their quest for power. In Henry VI, Part II, Henry’s ambitious queen Margaret starts a smear campaign against Humphrey’s wife, then pressures the King to force Gloucester to resign. As if that weren’t enough, Margaret also secretly conspires to murder the noble duke. Similarly, In Game of Thrones (Spoiler Alert), queen Circe puts her son on the throne and proclaims Ned a traitor. In both cases though, once the Lord Protector dies, the whole kingdom erupts in fights and arguments for the crown on all sides.
Ned Stark also resembles the heroes of Shakespeare’s Roman plays. He is cold and stoic as Brutus, and a devoted soldier like Titus Andronicus. Ned’s dire wolf is another connection with Shakespeare’s Roman plays; the wolf 🐺 is the symbol of the Roman Empire; packs of cold hunters who depend on each other for the survival of the family.
King Joffrey- Saturnine from Titus Andronicus– Joffrey is like the worst kind of tyrant- rash, proud, violent, and cruel. He lacks the maturity to make wise decisions and because of his privileged upbringing, he takes even the tiniest slight against him as an act of treason, and leaves a trail of heads in his wake. Worse still, he is easily manipulated by his mother Circe, who teaches him to act and feel superior to everyone else, and never care for the good of anyone but himself. In that way, he is very much like a Roman Emperor like Nero or Caligula, the real people whom Shakespeare adapted into the character of Emperor Saturnine in his play Titus Andronicus.
When we first meet Saturnine, he leads an angry mob into the streets of Rome, demanding to be made emperor, and threatening all out war if he doesn’t get his way. He also turns on the loyal soldier Titus, (who helped him win a war and win his crown), just because Titus wouldn’t give Saturnine his daughter in marriage. In the clip below from the 1999 movie Titus, Emperor Saturnine (Alan Cummings) is furious just because Titus wrote some mean scrolls about him, after Saturnine killed two of Titus’ sons, and banished a third.
King Robert Baratheon- Edward IV from Richard III.
◦ In the first book of the Game of Thrones series, Robert is the King of the Seven Kingdoms, having won a civil war to take it away from the Mad King Araes Targaryen. Edward in the play Richard III has just won the crown of England after a civil war against the mad King Henry VI. Both men were powerful warriors and used to be strong and handsome. People loved and feared him, but now the pressures of keeping the throne has literally consumed them.
Next had come King Robert himself, with Lady Stark on his arm. The King was a great disappointment to Jon. His father had talked of him often: the peerless Robert Baratheon, demon of the Trident, the fiercest warrior of the realm, a giant among princes. Jon only saw a fat man, red-faced under his beard, sweating through his silks.
Jon had noticed that too. A bastard had to learn o notice things, to read the truth that people hid behind their eyes. Two seats away, the king had been drinking heavily all night. His broad face was flushed behind his black beard.
In this passage from Thomas More’s History Of Richard III, (Shakespeare’s primary source for the play), More chronicles how Edward went from a handsome young king, loved and feared by all, into a gluttonous, lecherous, sick old man, who was consumed by care.
He was a goodly personage, and very princely to behold: of heart, courageous; politic in counsel; in adversity nothing abashed; in prosperity, rather joyful than proud; in peace, just and merciful; in war, sharp and fierce; in the field, bold and hardy, and nevertheless, no further than wisdom would, adventurous. Whose wars whosoever would well consider, he shall no less commend his wisdom when he withdrew than his manhood when he vanquished. He was of visage lovely, of body mighty, strong, and clean made; however, in his latter days with over-liberal diet , he became somewhat corpulent and burly, and nonetheless not uncomely; he was of youth greatly given to fleshly wantonness, from which health of body in great prosperity and fortune, without a special grace, hardly refrains. This fault not greatly grieved the people, for one man’s pleasure could not stretch and extend to the displeasure of very many, and the fault was without violence, and besides that, in his latter days, it lessened and well left.
-Thomas More, History Of Richard III, c. 1513
There are also similarities in how the characters died. King Robert was killed by a wild boar, while King Edward was killed by his brother Richard, whose sign was a white boar. As a bonus, the stag that is the sigil of House Baratheon, is also the seal of King Richard II, the king who, in the Shakespearean tragedy that bears his name, started the civil war when he was murdered in the Tower Of London. Below is a picture of the famous Wilton Diptych, (Richard the Second’s private alter piece), which depicts the king and all the angels in heaven wearing a badge with a white stag on it.
LittleFinger -Lucio from Measure For Measure, Iachimo from Cymbeline, Bawd from Pericles, etc. Shakespeare has a host of character like this lord of Westeros, the Master of Coin. He is cowardly and cynical, but he is also very clever and understands people’s weaknesses, especially sex. Like Bawd from Pericles, Little Finger has grown rich off brothels, and like many real life governments, he turns his prostitutes into spies. This gives him not only cash, but dirt on every lord in the 7 kingdoms. He only worries about Ned Stark, (who can’t be bought), and Vares the eunuch, who can’t be seduced. Little Finger is basically an oily politician and exploits the power of lust in the men of King’s Landing.
Jon Snow– Edgar and Edmund in King Lear Philip the Bastard in King John.
◦ Snow is the illegitimate son of Ned Stark. He’s aware of what he is, so he joins thieves and rapers as a knight of the Night Watch to make a life for himself, just as Edgar becomes a mad beggar in King Lear once he is accused of attempted murder. He has few illusions and like all the base-born children in Shakespeare:
He was who he was, Jon Snow, bastard oath breaker motherless, friendless, and damned. For the rest of his life, however long that might be- he would be condemned to be an outsider, the silent man standing in the shadows who dares not speak his true name.”
◦ Shakespeare wrote several characters born out of wedlock such as Phillip Falconbridge in King John, and Edmund from King Lear.
Unlike Jon Snow, Edmund in King Lear uses deceitful and cruel cunning in order to advance his position in life. Snow doesn’t try to change the rules, but both of them know that no one is going to give them anything. Early in book one, Jon learns to accept the cruelty of the world, and to accept what he is:
Let me give you some council, bastard, never forget what you are, for surely the world will not. Make it your strength. Then it can never be your weakness. Armor yourself in it, and it will never be used to hurt you.
Song Of Ice And Fire, p. 57.
🦁 Tyrian Lannister –
Obviously he shares some parallels with Richard III, with his small size and the fact that he is the most hated member of a powerful family. In fact, Peter Dinklage who plays Tyrion played Richard the Third back in 2004.
In terms of his personality however, Tyrion has neither the cruelty, nor the bitterness of Richard. For this reason, I would argue that Tyrion more closely resembles Sir John Falstaff.
◦ Like Falstaff, Tyrion laughs at his physical form as a way of disarming his enemies.
◦ Both Characters are famous for talking their way out of anything.
◦ Both characters are down on their luck for most of the books
Both characters are, ahem, fond of drink. Falstaff even has a beer named after him:
◦ Most Of all, Tyrion and Falstaff are survivors – they will do anything to stay alive, good or bad. They are also unapologetic about acting cowardly and deceitfully to avoid death. In Falstaff’s famous ‘Catechism speech,’ he mocks the concept of honor and how it frequently gets men killed.
‘Tis not due yet; I would be loath to pay him before
his day. What need I be so forward with him that
calls not on me? Well, ’tis no matter; honour pricks
me on. Yea, but how if honour prick me off when I
come on? how then? Can honour set to a leg? no: or
an arm? no: or take away the grief of a wound? no.
Honour hath no skill in surgery, then? no. What is
honour? a word. What is in that word honour? what
is that honour? air. A trim reckoning! Who hath it?
he that died o’ Wednesday. Doth he feel it? no.
Doth he hear it? no. ‘Tis insensible, then. Yea,
to the dead. But will it not live with the living?
no. Why? detraction will not suffer it. Therefore
I’ll none of it. Honour is a mere scutcheon: and so
ends my catechism.
Now observe this passage where Tyrion reacts to the death of a noble knight who was foolish enough to wear armor while crossing a river on a raft.
“Good my lord,” the messenger said. “Lord Brax was clad in plate-and-mail when his raft overturned. He was so gallant.” “He was a fool,” Tyrion thought, willing his cup and staring down into the wind depths. Crossing a river at night on a crude raft, wearing armor, with an enemy waiting on the other side–if that was gallantry, he would take cowardice every time. Song of Ice and Fire, 765.
My favorite part of the books is the way Martin writes the female characters. All the female characters are dealing with the fact that women have very little power or say in their society and they all use Shakespearean means or methods to get what they want.
🦁 Circe- Tamara and Lady Macbeth
Just as her son Joffrey has the arrogance and sadistic cruelty of a Roman emperor, Circe is a mirror image of the cruel empress Tamara, Queen Of Goths in Titus Andronicus. Both women are attracted to power and motivated by revenge. Tamara wants revenge against General Titus, who executed her son in the war. After seducing and marrying the emperor, she uses her influence to execute two of Titus’ sons. She then uses her lover Aaron the Moor (with Whom she secretly has a child), to concoct a plot to rape and mutilate Titus’ daughter. And if that weren’t enough, she tries to drive him mad by appearing at his home dressed as the Roman goddess Revenge. In short, Tamara is a classic femme fatale, who raises above the social oppression of her sex by seducing powerful men, and stabbing them in the back.
Circe is also a femme fatale, though Martin gives her more time to explain her motivations than Shakespeare gives Tamara. Like the Queen Of Goths, Circe marries King Robert Baratheon, while secretly having a taboo affair, this time with her brother Jamie. The difference is that Circe kills not strictly for vengeance, but mainly to conceal the fact that her son Joffrey is actually the product of her incest in order to protect him and eventually make him king. This is why Circe kills Ned Stark, Jon Aron, and consents to the murder of all or Robert Baratheon’s true born sons.
Circe does desire revenge, but not against anyone in particular. Instead, she wants to repay the patriarchy that keeps her down simply because she is a woman. Quote about Circe when she talks about how jealous she is of Jamie. In that chapter we get a great sense of who Circe really is. Because she’s a twin, she compares herself to her brother, observing how Jamie was given on her glory and respect when he became a knight and a member of the King’s Guard, while she was sold off to king Robert at the age of twelve like a slave or a common whore. Why, Circe asks, if she looks so much like him and acts so much like him, is she treated so differently just because she’s a woman? In a perverse sort of way, her incest might be a misguided attempt to claim part of Jamie’s honor and power through sexual conquest. Both Tamara and Circe show how an oppressive patriarchy can plant truly destructive thorns in the hearts of women, and these two queens reap that bitter harvest by cutting down the men in power one by one.
like camera Circe is driven by her love for her children and her desire and her pride and desire for vengeance. She spends the first half of the place seducing the emperor to gain his favor and then when she is made empress she uses her power to systematically destroy Titus and his family. Similarly, Circe marries king Robert and then when he dies she makes her son she then kills Ned Stark guy in prisons his daughter tries to kill the second of and
Hermione From The Winters Tale ❄️ 🐺
◦ Kindness and mercy are her weapons as well as her will and devotion to her friends and family. Even Tyrion is impressed by her integrity.
🐺 Aria- Imogen from Cymbeline
◦ If it’s a mans world, pretend you are one! She learns to use a sword ⚔️ and uses her small size and gender to sneak away from her enemies.
🐉 Daenerys Targaryen- Cleopatra!
◦ Crafty and beautiful
◦ Uses her sexuality to gain a powerful man’s protection
◦ Her dragons 🐉 make her a goddess, elevating her beyond a woman and even a queen. In a society that opposed and ignored women, female monarchs needed to practically deify themselves in order to get the same respect as their male counterparts.
Just as the real Cleopatra claimed to be a descendant of the goddess Isis and Elizabeth I was part of the cult of the virgin queen, The Mother Of Dragons has a mythic power that commands fear and adoration.
In the final chapter of book one, Daenerys tries to simultaneously say goodbye to her warrior husband Khal Drogo, and to get her few remaining soldiers to swear loyalty to her. She dresses him, she braids his hair, she puts him atop a pyre, and waits for a star to pass overhead to give his funeral a cosmic significance:
“This is a wedding too.”
The pyre shifted and the logs exploded as the fire touched their secret hearts. She could hear the screams of frighten horses and the voices of the Dothraki. “No,” she wanted to shout to him, “No my good knight, do not fear for me. The fire is mine. I am Daenerys Stormborn, daughter of dragons, bride of Dragons, Mother Of Dragons.”
This mirrors how, once Cleopatra loses Antony and knows that the Romans are coming to capture her, she says goodbye to Antony, and asserts herself as queen.
Give me my robe, put on my crown; I have Immortal longings in me: now no more The juice of Egypt’s grape shall moist this lip: Yare, yare, good Iras; quick. Methinks I hear Antony call; I see him rouse himself To praise my noble act; I hear him mock The luck of Caesar, which the gods give men To excuse their after wrath: husband, I come: Now to that name my courage prove my title! I am fire and air; my other elements I give to baser life.
Have I the aspic in my lips? Dost fall? If thou and nature can so gently part, The stroke of death is as a lover’s pinch, Which hurts, and is desired. Dost thou lie still? If thus thou vanishest, thou tell’st the world It is not worth leave-taking. Antony and Cleopatra, Act V, Scene ii.
Dany does the same thing. She lights the pyre to help her husband ascend to the heavens, taking his place among the stars. Then, she sits on top of the pyre along with her three dragon eggs. Miraculously, she survives the fire and the dragons hatch, thus establishing her as the true heir of House Targarean and the Mother Of Dragons.
After witnessing the queen embracing her serpentine children, the blood riders that swore oaths to defend her husband swear again to defend her, promising to help her win the Iron Throne. Her power to command loyalty can win her the throne, and unlike Robert, keep it!
There are enough comparisons between Shakespeare and GOt that one playwright even adapted Shakespeare to resemble a Game Of Thrones story. Below is a poster of
Play Of Thrones, an adaption Of The Henry VI plays that, as I’ve mentioned, are full of characters and scenes similar to Game Of Thrones:
It’s always a great privilege to play a Shakespearean character, but especially to play one of Shakespeare’s villains. Playing Don John in this production is a great deal of fun, especially creating a character from the ground up. What follows is a short account of my process of creating this character, which, as I always do no matter what character I’m creating, begins with the text.
Don John only really talks about himself in one scene, Act I, Scene iii. This is the only scene in which Don John hints at the reason why he is so unhappy:
“I cannot hide what I am:
I must be sad when I have cause and smile
at no man’s jests, eat when I have stomach and wait
for no man’s leisure, sleep when I am drowsy and
tend on no man’s business, laugh when I am merry and
claw no man in his humour.”
— Much Ado About Nothing, Act I, Scene iii
Looking at the speech, the first thing I noticed is that it is all in prose, which is usually an indicator that the character is not speaking from his heart. Instead of making a confession of his true emotions, Don John tends to dominate the conversation and hit his listener over the head with his argument. Benedick and Beatrice also speak in prose when they are making fun of each other, but this kind of prose is much more terse and cynical.
Looking closer at the language of the speech, I also noticed the repeated usage of the word ‘no.’ In this speech Don John refuses to accommodate anybody, he reserves the right to ignore anyone, take from anyone, and irritate anyone he wishes without a thought for anyone’s feelings. Essentially, in this speech, he is refusing any kind of social grace or social interaction. Two kinds of people exhibit this kind of pattern; petulant children, and sociopaths.
Since Don John is an illegitimate child, he has probably been denied a normal, loving childhood, which can stunt his emotional growth. Like Edmund in King Lear, I decided that Don John doesn’t believe in any kind of love, except love for himself. Without the love of others, he refuses to give or show any himself, and only seeks to enhance his own ego, which explains Don John’s pointless war against his brother to improve his political status. This lust for power became my overall objective for the character which manifests itself in Don John’s utter contempt for everyone but himself, and the cruelty he shows to Claudio and the other people in the play.
However, I also made a decision that, unlike Keanu Reeves’ portrayal of Don John in the film version of Much Ado, I didn’t want him to just be a repellant psychopath that would be unpleasant to watch. I decided early on that I wanted to find a way to insert some comedy into the role. This is why I decided that when Don John complains about his melancholy and his unfulfilled desires, he pouts like a young child. I then summarized my concept for the role in four distinguishing characteristics:
Having established my character’s motivation and his overall personality traits, I concentrated on developing a voice and physicality. I thought to myself, “What person or character has these characters?” Then I saw this:
Neil Patrick’s character Barney Stinson on How I Met Your Mother, matched these characteristics perfectly. He is a self-obsessed low level sociopath who sleeps with lots of women without loving any of them. He is also an illegitimate child who never knew his father, just like Don John. I therefore decided to borrow some mannerisms from Barney.
After watching a few episodes of the show, I noticed a few interesting details in the way Barney acts that I wished to replicate:
Posture- Barney’s posture is absolutely straight. He gives the impression of growing straight up out of the ground, which gives the impression of supreme confidence and arrogance. To keep my posture straight, I did yoga every day to keep my back and legs strong. I used a straight posture whenever Don John is in public but when he is alone and pouting, I let my shoulders hunch like Richard Nixon to give the impression that Don John, (like most bullies), suffers from extremely poor self-esteem, and his displays of ego are merely a front.
Eyebrows: As you can see in the photo above, Neil Patrick Harris can move his eyebrows independently, which allows him to appear incredulous or mischievous with a sly move of the eyebrow. It just so happens that I can move my eyebrows independently as well, so I use this in moment
The Chin: A lot of NPH’s acting comes from his chin. When he’s feeling very proud of himself, he thrusts his chin in the air like a lightning rod, absorbing mystical energy from the heavens. When he is feeling wicked, he chocks his head to the side and pops his chin out. I adopted these motions for moments in which Don John is plotting something.
Since Don John is upper class, he doesn’t need big gestures; the more upper class someone is the less they need to work to get people’s attention. However being the selfish brat that he is, his gestures are very flashy. I adopted subtle, fluid gestures that come from the wrist and only used full body gestures when the character is angry, or when he is playing up his own ego. In the video on the left, there’s a short rehearsal of a scene I did with Amanda Cash Snediker. At one point, when I want Tiarra Hairston to light Amanda’s cigarette, all I do is snap my fingers.
The iconic voice of a 1920s announcer is a reedy-voiced tenor with a slight slur in his words with a slight smile to his mouth. This kind of world-weary, loud-mouthed voice is exactly what I wanted to convey in Don John’s voice.
Costume “Let’s Suit up”
Just like Barney, I believe Don John is obsessed with his appearance. I looked up male fashions in the 1920s. Looking at this picture of Edward Beale McLean, (head of the Washington Post from 1916-1933), I saw a suit worth replicating. I found a great black pinstripe suit.
I also looked for a uniform that I thought would seem menacing and appropriately gawdy.
For More Info On Male Fashion from the 1920s, click on this link: