Mafia Tropes in “Richard III”

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

Opening Scene from Ian Mckellen’s 1995 movie of Richard III.

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.”

Niccolo Machiavelli

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:

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.

A series of quotes from Las Vegas Mobsters

“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.

Richard hires two murderers to kill the duke of Clarence (Nigel Hawthorne).

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.

The Mafia Museum, Las Vegas
Exterior of the Mafia Museum

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.

The Fashion Is The Fashion 5: Richard III

Sketch I made for a production of Richard III.

Today I’m going to talk about the unique costume challenges in dressing the cast for a production of Shakespeare’s history play, “Richard III.”

The play is set in 1483, a time period where, even though many European countries were at war, many nobles had sumptuous, more form-fitting clothes with fur, gold, leather, and other exotic fabrics. If you look at the sketch I did above, I gave Richard designs using velvet, leather, fur, and gold. After all, Richard is a powerful duke even before he takes the crown. For more information about this period, visit Fashion History.edu.

Design for Queen Elizabeth Woodville by me.

Further, if you’re interested in finding pre-made patterns of 15th century-inspired costumes, go to your fabric store and look for kits like the ones I photographed below.

My design was based on a drawing by the 19th century illustrator HC. Seleous, and the color were taken largely from Richard’s royal portrait in the National Portrait Gallery. I also used a royal portrait of Elizabeth Woodville, queen to Edward IV, (Richard’s brother).

Donning the Hump

Interestingly, x-ray photography has recently revealed that Richard’s alleged hump was added to his portrait after his death. In reality, the king only suffered from merely a curvature of the spine. Just like in Shakespeare’s play, the Tudor Chroniclers literally defaced Richard’s image to make him look like an evil, deformed maniac.

Costume designers are vital to help the actors realize the deformity when playing Richard III, and they have done so in many ways. Ian Holm wore a boot on his leg. John Harrel had a bowling ball fastened to his hand, and Antony Sher had a large hump in the center of his back, both a cloth one that was built into his clothes, and an elaborate makeup prosthetic for scenes where he was partially undressed. When I researched for my thesis, I consulted Sir Antony’s book “Year Of the King,” where the actor explained his research into real spinal deformities, and how he incorporated them into the performance. You can see how my actor Matthew figured out how the hump would impede his walk and other movements.

For the final battle between Richard and Richmond, one has to decide on the period and think carefully of the fitness of the actors. 1485 was at the height of the era of suits of armor, and many films have chosen to have Richard fight to the death, while encased in a heavy metal coat of plates.

Benedict Cumberbatch in the 2017 BBC TV mini-series “The Hollow Crown.”
Design for a suit of armour for Henry Tudor

However, this has not always been the case. Ian McKellen had Richard fight in a gas mask in a 1940s British military uniform, driving around on a jeep that gets stuck once Richard utters his most famous line:

Richard III is a play about political intrigue, mafia-like turf-wars, and literal backstabbing and the clothes need to reflect this brutal and Machiavellian world. The costumer needs to help all the actors, not just Richard realize their place in the corrupt medieval political landscape of The Wars Of The Roses, as these characters go from an uneasy peace, to the last gasp of civil war.

Ian Mckellen in the 1995 movie version of Richard III.

Intro to Henry the Fifth

I’ve chosen Shakespeare’s Henry V as my play of the Month for July because it’s easily Shakespeare’s most patriotic play; as July 4rth is the seminal event in American history, the Battle of Agincourt is one of the most famous battles in English history. So this month, we’re examining the so-called “star of England,” and the story that every Englishman teaches his son, and in the process, discuss the nature of war, patriotism, and the stories we tell ourselves that become our history.

Historical and Dramatic info on Shakespeare’s Henry V.

To see my take on a modern American history play, click here to read my review of “Hamilton:”

How “Hamilton” is like a Shakespearean History Play.

Graphic Novel Review: “Kill Shakespeare: VOl 2.” a Dark and angsty Shakespeare fanfic.

Cover Art: Kill Shakespeare Vol. 2

Shakespeare Review

  • Kill Shakespeare Comic

In this section, I review a Shakespeare book, movie, or TV show that I feel has some kind of value, either as an interpretation of Shakespeare, or a means to learn more about the man and his writing.

  1. Name: Kill Shakespeare (Vol. 2) by Connor McCreery and Anthony Del Col
  2. Media: Graphic Novel compilation, with accompanying website https://www.killshakespeare.com/ 
  3. Ages: Adult/ Teen. There’s some PG-13 language and a lot of fighting and gore, so it’s not really for kids
  4. Premise: William Shakespeare is more than just a simple playwright- he has a magic quill that brings his characters to life. Some of the characters worship him like a god or like a father. Unfortunately, others (namely, the villain characters), are unhappy with their stories and want revenge, causing a civil war led by Richard III, Macbeth, Lady Macbeth, and Iago (who is once again, betraying Othello). Our heroes include Juliet, Othello, Falstaff, Hamlet, and Captain Cesario (who is actually Viola from Twelfth Night in disguise). Can the heroes defeat the villains? Can Shakespeare save his precious creations from destroying each other before it’s too late?

   My reaction: In essence, this graphic novel is like Season 4 of one of my favorite TV shows, Once Upon A Time. The premise is that an ordinary writer is given the power to create living characters, some good and some evil. In fact, in Once Upon A Time Lore, Shakespeare WAS one of the Authors in the OUAT universe

Basic Details:

The main difference between Once Upon A Time and Kill Shakespeare is that the action is far more violent, and the characters have one main quality- ANGST. As I said, the villains are not happy with Shakespeare, which makes perfect sense. Macbeth famously called his life a “Tale told by an idiot,” and Richard III loves to blame his problems on either God, or his mother, since one or both of them cursed him with deformity and love of wickedness. It makes complete sense that these characters would rage against their creators. The heroes (especially the tragic ones) are also struggling with their sad pasts and trying to reconcile their feelings for Shakespeare. Is he their god? Is he their father? If so, is he a good one or a bad one?

What I like the most about this graphic novel is that the characters are consistent with how the real Shakespeare wrote him, yet they make different choices in the graphic novel. They also grow and play off each other in many interesting ways. Here are some examples:

Juliet in this version is much more of a fighter than a lover. She is a general of all the heroic Shakespearean characters and uses her hope and her wits to rally the troops. That said, she still misses Romeo, who died from the poison just like in Shakespeare’s version, and still has love in her heart. I won’t give anything away but, let’s just say that this time she climbs someone else’s balcony.

Falstaff This might be my favorite change in this version. Falstaff is still witty and gluttonous, but in this version, he’s on a bit of a redemption arc. He commits himself to fight with the rebels and even has faith in Shakespeare and the people around him. Plus, just like his moments with Prince Hal, Falstaff forms a father-son bond with Hamlet in this version, which is really fun to watch. It’s like they took everything bad about Falstaff and metaphorically ‘trimmed the fat.’

Hamlet (AKA The Shadow King in this version), is still brooding over the loss of his father, his murder of Polonius, and his loss of Ophelia. He has once again been thrust into a quest that he’s not sure he can complete- fighting King Richard, finding Shakespeare, and convincing him to help the heroes. That said, he is still capable of warmth, humor, and even romance (no spoilers).

MAJOR SPOILER ALERT

William Shakespeare

In Volume 2, Shakespeare is a jaded mentor figure who has retreated to an enchanted forest after failing to protect his creations. His arc is very similar to Luke Skywalker in The Last Jedi, in that he made a major mistake, failed to live up to the impossibly high standards people had for him, and hides away at the bottom of a bottle. He now has to choose whether to take responsibility for his creations or stay hidden away alone. I love this arc, I love the scene where he talks to Hamlet, and I love the way they develop his character.

Critique

It’s a small point, but with the exception of Falstaff and Viola, the comic characters in Shakespeare (at least in Volume 2), don’t have much to do. Feste and Sir Toby Belch appear as traveling players but they barely interact with the tragic leads. I think this was to keep the tone of the novel consistent, but honestly, I do kind of wish they had broken up some of the tragedy with some more comedy.

Recommendation: I’d recommend this book to all mature fans of Shakespeare, anime, Manga, D&D, or any kind of nerd stuff!

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Grade: 4 Shakespeare globes.

  • Official Website:
  1. www.killshakespeare.com

Review: Kurasawa’s THrone of Blood

One of the most celebrated international film versions of Shakespeare comes from Japanese director Akira Kurasawa, (1910-1998). The innovative filmmaker is famous for combining Shakespeare with traditional forms of Japanese theater like Kabuki and Noh. Kurasawa’smost celebrated film was his film Throne of Blood, (1957), which was a fusion of Shakespeare’s Macbeth with Japanese Noh theater.

Here’s a short analysis of the film:

My Top 10 Favorite Shakespeare/ Star Wars Actors

This list is not about skill or the talent of the actor. This is to honor the contributions of Shakespearean actors who also appeared in one of my favorite film series of all time: Star Wars

#10: Daisy Ridley

I should say at the outset, that I am judging these actors for their cumulative contributions to Shakespeare, so unfortunately that means the older actors have an advantage. This is very apparent with Daisy Ridley here. She has a fantastic voice and her acting is top-notch, so I have absolutely no doubt that if she chooses, she could become the next Helena Bonham Carter in a few decades. But for now, her most notable Shakespearean contribution is this film, Ophelia, which is a retelling of Hamlet, from the perspective of his long-suffering girlfriend:

Trailer for Ophelia starring Daisy Ridley, 2019.

#9: Ewan McGreggor

The Scottish actor, (and in my opinion, best part of the prequels), is a multi-talented star of stage and screen. Ewan actually complained that the script for Episode I was: “Not exactly Shakespeare.” He first came to prominence on stage playing Mark Renton in the dark comedy Trainspotting (whom he also played for the film). Like Daisy Ridley, however, aside from playing Iago to Chiwetel Ejiofor’s Othello, McGreggor hasn’t done much Shakespeare… at least for now.

#8: Andy Serkis

We normally associate the English actor Andy Serkis with physical acting and motion capture, after his roles as Snoke in Last Jedi, Caesar in Planet of the Apes, Kong in King Kong, and of course, Gollum in Lord of the Rings. However, before he became a one-man advocate for the art of motion capture, Mr. Serkis toured in a number of Shakespeare productions including The Winter’s Tale, King Lear (as the Fool), and like Ewan McGregor, Mr. Serkis has played the role of Iago (fitting for a man who played a treacherous hobbit, consumed by unnatural desire). The breadth of his film, theater, and digital work is why I placed him this high on the list.

#7: Peter Cushing

Most fans of Peter Cushing think of him as a horror icon, playing multiple roles for the famous Hammer Studios, with his classic portrayals of Dr. Frankenstein, Dr. Van Helsing in Dracula, and Sherlock Holmes among others. However, Mr. Cushing has a place in Shakespearean history for his performance in Laurence Olivier’s Hamlet, playing OSRIC! I kind of lost my mind when I realized that Cushing isn’t playing the Ghost, or the smiling, damned Claudius, or even the fiery Laertes, but Osric, the foppish sycophant who sucks up so hard to Hamlet, that the prince convinces him that it’s hot, and cold at the same time! Goes to show you how much range Cushing had, (even before he rose from the dead in Rogue One). He truly was, “Charming, to the last.”

#6 Christopher LEe

Like his longtime friend, Peter Cushing, Christopher Lee was also a horror star at the Hammer Studio, and his performances as Dracula are the stuff of legend. With his powerful deep voice, I was not surprised to learn Lee was a trained Shakespearean actor, and he was also in Olivier’s Hamlet, though as an uncredited spear-carrier. By the way, to those people who criticized his swordplay in Attack Of the Clones, I offer this contrary evidence:

#5 Max Von Sydow

The Sweedish-born actor is less known for Star Wars than for his classic roles in The Exorcist, Minority Report, Judge Dredd, and others, but he was in Force Awakens, so he still counts.

I wanted to talk about him here because Von Sydow has given many performances in Shakespeare and Shakespeare adjacent movies. First off, he played the Claudius figure in the atrocious Canadian Hamlet ‘comedy’ Strange Brew, one of the worst movies I’ve ever seen, but Von Sydow’s performance is one of the few watchable parts of the film.

More importantly, Von Sydow has specialized in playing wise, sage-like characters who stare into brave new worlds. First off, in Star Wars, he was the catalyst that helped start the rebellion against the First Order in The Force Awakens.

Von Sydow previously played a powerful sage as Shakespeare’s Prospero at the Old Vic in London in 1988, directed by Jonathan Miller:

‘Miller … used a mixed cast made up of white actors as the humans and black actors playing the spirits and creatures of the island. According to Michael Billington, “von Sydow’s Prospero became a white overlord manipulating a mutinous black Caliban and a collaborative Ariel keenly mimicking the gestures of the island’s invaders. The colonial metaphor was pushed through to its logical conclusion so that finally Ariel gathered up the pieces of Prospero’s abandoned staff and, watched by awe-struck tribesmen, fitted them back together to hold his wand of office aloft before an immobilized Caliban. The Tempest suddenly acquired a new political dimension unforeseen by Shakespeare’. Source: http://bufvc.ac.uk/shakespeare/index.php/title/av70946

In addition to playing Prospero onstage, Von Sydow has influenced many stage and screen productions of Hamlet due to his iconic portrayal of the knight Antonius Block in Ingmar Bergman’s The Seventh Seal:

Clip of the famous chess match between Von Sydow’s character and Death.

The whole movie is sort of a Hamlet spin-off, in that the title character has seen the pain and suffering of the world and is pondering the meaning of life, while constantly aware that Death is watching him and waiting to take him. The gothic atmosphere has influenced hundreds of productions from Olivier to Zefirelli. The film has even inspired parodies like Bill and Ted’s Bogus Journey, and Last Action Hero, which of course is a deconstruction of the action movie genre that acknowledges that its roots lie in Hamlet:

Ian McKellen as Death in “Last Action Hero”

Arguably what Bergmen and Von Sydow did with “Seventh Seal” was outline the courses of action that Hamlet considers in “To Be Or Not To Be,” namely whether to sit inactive, or to actively choose murder. Action heroes are basically men who deal with the fear of death, by inflicting death on ‘bad guys,’ yet however they try, Death gets them all in the end. Even Luke Skywalker, who escapes death many times, and begs his father and his master Yoda not to die, cannot change the inevitability of death.

Even the most powerful Jedis cannot avoid death.

#4: Julian Glover

Julian Glover in Empire Strikes Back

One of the smaller bit part actors in Star Wars is actually a very distinguished Shakespearean actor. Julian Glover, who played General Maximillian Veers in The Empire Strikes Back, (and later played Walter Donovan in Indiana Jones), spent many years at the Royal Shakespeare Company, and turned out some wonderful performances. If you watch this clip from the documentary In Search Of Shakespeare, you can see him perform as King Lear, and the Ghost of Hamlet’s Father.

#3: Sir Alec Guinness

https://www.theguardian.com/news/2000/aug/07/guardianobituaries.filmnews

To be honest, I don’t care much for Alec Guinness’ acting. He has a great presence and a subtle but clear delivery, (what do you expect for someone whose name is an anagram for “Genuine Class)? That said, I feel he’s never having any fun in his roles. It might also surprise you to learn that he didn’t like playing his most famous role:

ir Alec Guinness regretted playing Obi-Wan Kenobi in the original Star Wars trilogy. He called the dialogue “lamentable.” n fact, in his autobiography, he recounted a story in which a fan asked for an autograph and told Guinness that he had seen Star Wars more than 100 times. Guinness claims he gave the autograph on the condition that the fan never watch the movie again.

Buzzfeed- “6 Actors Who Regretted Taking A Role And 6 More Who Regretted NOT Taking One”
Photostage.co.uk - MERCHANT OF VENICE, THE - 1984 Chichester
Alec Guiness as Shylock in “The Merchant of Venice”

Even though I don’t enjoy Sir Alec Guinness in Star Wars or in Shakespeare, for the purposes of this list, he has done decades of work on stage and he has helped shaped modern Shakespearean acting, (for good or ill). But, don’t take my word for it, judge for yourself:

#2: Ian McDiarmid

Not only is this actor essential to the Star Wars universe, playing the diabolical Emperor Palpatine, Ian McDiarmid has made an indelible impression on the world of Shakespeare. He’s appeared onstage as Shylock, Timon Of Athens, and many others. He also served as Artistic Director for the Almeida Theater in England, helping to stage many other high profile productions of Shakespeare and other plays.

My favorite performance of his though, has got to be as the Porter in Trevor Nunn’s Macbeth. Since McDiarmid is actually Scottish, he was allowed to use his natural accent. He’s funny as the drunken comic relief, but there’s a wicked gleam in his eye. After seeing him as Palpitine, I wondered if he was actually Satan, coming up from Hell to greet King Duncan (since Macbeth is murdering him upstairs). Perhaps this is the real Devilish porter, ready to carry away the king’s soul. What do you think?

#1: James Earl Jones

Luke Skywalker Channels Hamlet in Funny, Rare 'Return of the Jedi' Photo
Exceprt from the documentary “How Shakespeare Changed My Life”

You probably saw this coming. Maybe this is some cultural bias since I’m American, but James Earl Jones is the pinnacle of American Shakespeareans, and we owe a lot to him and he himself owes a lot of his career to Shakespeare. Jones’ first ever film role in Stanley Kubrick’s Dr. Strangelove, came about after he and George C. Scott were both acting in “The Merchant Of Venice.” Kubrick saw the show and hired them both (Source: The Wall Street Journal).

The Lion King: Original Story by iamSketchH on DeviantArt

Since then, in addition to playing the voice of one of the most iconic villains of all time, (and the lion equivalent of Hamlet’s father), Jones has become one of the most beloved and acclaimed actors of our day, and his Shakespeare work is truly incredible. If you watch the documentary above, Mr. Jones talks about how he created his performances as King Lear and Othello, which were truly magnificent. In my opinion, James Earl Jones gave the best performance as Lear in the 2nd half of the 20th century, and his Othello was one for the ages.

Not only has his work onstage advanced the craft of acting, Jones has freely shared his knowledge and experience at colleges and universities around the country, including my own. I heard him talk plainly but eloquently about Shakespeare’s characters, his approach to race, and his insight into the plays that could only come from many years inhabiting some of Shakespeare’s most iconic characters. If you ever read this Mr. Jones, Thank you for being an inspiration on film, on stage, and in the classroom!

It’s not hard to see why so many actors have been drawn to Shakespeare and Star Wars. They are both drawn from epic myths that examine what it means to be human, to be part of a family, and to fight for what we believe in. Every actor on this list used their experience with Shakespeare to help bring these iconic Star Wars characters to life, and today I honor their contributions to The Great Globe, and A Galaxy Far Far Away.

Shakespearean tropes in Star Wars