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!
Since Mothers’ Day is this weekend, I wanted to pay homage to the greatest mother characters in the Shakespearean cannon. I know I already made a list in a previous post, but I wanted to create some art to show some of the aspects of these women that I find inspiring:
Cleopatra
AI art I created via Night Cafe of Cleopatra and her son Cesareon.
Most art depicting Cleopatra emphasizes her beauty, power, or love of Marc Antony. I wanted to create an art piece that emphasizes how hard it must have been to be an Egyptian queen and a mother. Cleopatra’s family were infamous for their backstabbing in fact, Cleopatra murdered two of her own sisters to stave off threats to her throne. Even worse, her son (as his name implies), was the son of Julius Caesar, making him a direct threat to Octavian, who claimed to be Caesar’s heir. One thing many people forget about this play is that Cleopatra spends most of the play trying to protect her son.
I chose to portray Cleopatra not sitting aloof on her throne, but crouched down with her hand on her son. In front of them are some swords that he was playing with. Her pose is tender but shows great concern. Perhaps the boy grabbed the sword when she wasn’t looking and she’s gently explaining how dangerous they are and how he can hurt himself. At this moment, she is also thinking about the many swords in Rome that are unsheathed and ready to hurt her son.
Queen Elizabeth from “Richard III”
This is another mother who is trying to protect her son from danger. Again we have a queen with a son who is a threat to a violent man who wants power- the treacherous Richard of Gloucester. In the play, Elizabeth takes her son into a church to seek sanctuary after the death of their father the king. She does this because Richard is not Lord Protector of England, and Elizabeth doesn’t trust him with her children. To emphasize her fear and the danger following them, I chose to portray the scene with three deformed gargoyles behind Elizabeth and her sons.
Volumnia from “Coriolanus”
At this point in the play, Coriolanus is fighting against the Volskies, a barbarian tribe that is threatening Rome. He’s probably been away from his wife and son for a long tour of duty and it must take a toll on his family. I made this image to show how Coriolanus’ wife Virgilia must rely on her mother-in-law Volumnia for support. Meanwhile Volumnia, Coriolanus’ mother, pities Virgilia, but refuses to show any weakness towards her. I have her looking in the doorway, sneaking a peak to see if her son has returned yet. She refuses to show any fear or concern for Coriolanus, but she must worry about him deep inside.
Hermione From “The Winter’s Tale”
Hermione is another woman who, due to the painful and heartbreaking scenario she is thrust into, must suppress her emotions for the sake of her children. She has just been accused of adultery, and delivered her new baby shortly after being thrown into prison. I feel Hermione must be suppressing a huge amount of rage, fear, sadness, and confusion that she cannot express. She must be as calm as the statue she eventually becomes later on in the play.
I thought about this concept of Hermione suppressing rage and being still and strong like a statue and I thought about Medusa from Greek mythology, who was unjustly punished with ugliness and the power of petrification. Books such as Philosophy For Girls depict Medusa as a symbol of how female rage and female sexuality is punished and tabooed in our society and women like Hermione know that if they cannot express the rage they feel at injustice, their only recourse is repression, which is like metaphorically turning to stone.
With these concepts in mind, I portray Hermione holding her baby with the statue of Medusa looking down at her. The statue looks a lot like Hermione and its closeness emphasizes how Hermione is almost two people- the person she presents to the world, and the angry, hurt person she is inside.
So, what do you think? Do you like my interpretations? Let me know in the comments!
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!
Period Overview Georgian England Shakespeare and the Regency Era 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… Read more: Shakespeare in the time of Bridgerton
Greetings Dear Gentle Readers, With the new season just released on Netflix, I’m sure a lot of us literary nerds will rejoice and be happy to have an excuse to play dress up, eat some scrumptious food, and converse on the sweet little confection that is Bridgerton. What follows is by no means a comprehensive… Read more: How to Throw a Bridgerton Themed Party
Shakespeare’s History Class Parent Description- A fully online, fully interactive course into Shakespeare’s histories taught by a professional text coach and actor. Students- Uncover the scandalous and gory history behind Shakespeare’s most action-packed plays! Shakespeare’s histories have inspired such works as “Empire,” “Game of Thrones,” “Hamilton” and even the “Star Wars” trilogy. This class will… Read more: New Course: Shakespeare’s Histories
Great online classes in Shakespeare and science are available for students all this month at Outschool.com. Special Promo: LIMITED TIME ONLY! 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… Read more: Great Classes for the Month of June!
Concept: To explore the plot, characters, and themes of Shakespeare’s Julius Caesar while also gaining an insight into Ancient Roman history and culture.
Student Description: Delve into the passionate speeches of Brutus and Antony in Shakespeare’s Julius Caesar, which led a whole country to revolution.
Parent Description Using self-paced online activities, and a helpful handout, your child(ren) will analyze the rhetoric and persuasive power in two speeches from Shakespeare’s “Julius Caesar.” The course will also cover the culture of Ancient Rome, and the circumstances that led to Julius Caesar’s assasination, which inadvertently led to the birth of the Roman Empire.
Course Organizaiton (the class is divided into 4 parts that students can complete at their own pace over a week-long period
Each lesson will have:
“That Is the Question” (Essential Question)
Lesson Objectives
Set the Scene (Background and context)- 1-3 slides
The Players (biography) 1-3 slides
Go Deeper (Webquest)
Explore military life and the lives of women in Rome using my blog and other websites as a guide.
Post 3 things you learned to the Outschool page or send a photo of your completed handout.
Words, Words Words (Vocabulary, famous lines)
A Taste of Your Quality (Independant Project)
Show us your mettle (Test)
So each class should be 14-15 slides long.
Outline
Class I- Background on Caesar and Roman Culture
That is the Question:
Why did Brutus feel Julius Caesar had to die?
What was the aftermath?
Can one person’s speech effect an entire nation?
Lesson Objectives
To provide historical and political context to explain why Julius Caesar was assassinated, and how his death inadvertantly created the Roman Empire.
To explain the Rhetorical Triangle, the building blocks of persuasive speech.
To go through the story of Julius Caesar focusing on the effect of the speeches.
To study the famous “Friends, Romans Countrymen” speech.
To contrast this speech with some more recent political speeches and you think critically about:
Brutus- Podcast episode. I posit in this episode that Brutus is
Words, Words, Words-
Traitor
Republic
Dictator
Revolution
Ethos
Pathos
Logos
Rhetoric
Colossus
Aeneus
A Taste Of Your Quality:
(Independent work): We’ll examine a painting of Brutus’ ancestor Lucius and learn why Brutus values Rome more than even family.
Show Us Your Mettle:
Quizzes on Brutus
Class 3- Antony and Brutus’ Dueling Speeches
(c) Hartlepool Museums and Heritage Service; Supplied by The Public Catalogue Foundation
That Is the Question
After Caesar’s Death, his friend Marc Antony held a funeral for him where he gives the famous “Friends, Romans, Countrymen” speech. How did Antony’s speech affect the crowd?
Brutus has a speech where he explains why he killed Caesar. What does he say, and how effectively does he say it?
Antony was secretly plotting to take power for himself, and get Brutus and Cassius killed. How did he do it?
Do speeches have the power to change a nation?
Learning Objectives
To explain the Rhetorical Triangle, the building blocks of persuasive speech.
To study the famous “Friends, Romans Countrymen” speech, as well
To look at these speeches and get you to think critically about:
We’ll talk about the consequences of violent revolutions and how Julius Caesar has inspired some of the greatest speeches in political history.
-Patrick Henry
– Gettysburg Address
– Mean Girls
That Is the Question
How have people interpreted the play “Julius Caesar” in America?
Does this play promote violence?
What kind of violent speech do we deal with in politics today?
Learning Objectives
To show the link between American History and Julius Caesar
To address the controversy and the misconception that the play promotes violent assassination.
To end on a cautionary note people must think critically about what they hear in politics and not make rash decisions based on appeals to fear.
Setting the Scene- US History
America was founded using the principles of republican government that Ancient Rome used- with a senate, and a series of checks and balances to ensure no one has too much power.
America was founded in a violent revolution, and some of our country’s early leaders used Brutus as an inspiration- to overcome a tyrannical king.
In later years, however, some people have forgotten what happened to Brutus
Today, we are often bombarded with speech that encourages fear and anger and we must think critically when we hear such speech in whatever forum- Roman, or Reddit.
The Players (use my JC lecture?)
Patrick Henry
Abraham Lincoln
John Wilkes Booth
Donald Trump
Go Deeper
-Watch the Caesar Video
– How does the play promote nonviolence?
– How did Brutus’ assassination fail to save the Roman Republic?
Happy International Women’s Day! I would like to dedicate my posts today to my daughter, a wonderful strong girl, a Shakespeare fan, and a lifelong lover of the musical “Six”.
Some of Shakespeare’s Best Female Characters
I’ve discussed Shakespeare’s best Mother characters before, and his Roman characters as well, but I thought I should include some of the ones who are not mothers and/or unmarried (at least for most of the play). I don’t want to rank these characters since I detest ranking women in general, so here are some of Shakespeare’s best characters, and some of their immortal speeches:
CleoPatra
Katherine Of Aragon
Even though “Henry the Eighth” is my least favorite Shakespeare play, I love how strong Katherine is and how well she fights against the machinations of Cardinal Woosey and her husband. She is a courageous, virtuous, and strong-minded woman, who when Henry demands that she consent to a divorce, Katherine simply says: “No Way!”
A fascinating and electrifying character. She seduces her husband and makes him fully commit to murdering the king. If you look at the post above, you can see the multiple potential readings for why she courts evil spirits to convince her husband to murder the king. Her strength and energy is highly attractive and it was easy for me to see how a man might do anything to make her happy.
Isabella From “Measure For Measure”
I think Elizabethans would have seen the connection between the Virgin Queen who fought off assassination from the Pope, and Isabella, a virgin who fights off the advances of Angello, who seems pious, but who secretly is degenerate and cruel. Isabella even becomes a princess at the end of the play, (assuming she marries the Duke), which means she could literally become a Queen Elizabeth to English eyes.
Stick figure version of Isabella from “Peace Good Tickle Brain.”
Portia Catonis (Wife of Brutus)
One of the best female characters in the Roman plays, Portia demands to be taken seriously as a wife and as a Roman citizen. In her one great scene we see her demand that Brutus tell her why he has been so distant and cold:
Some have speculated that in real life Portia helped Brutus with the conspiracy to assassinate Caesar, after all, she was the daughter of Caesar's great rival senator Cato, who was willing to die when he realized the Roman republic was finished. Not only was the real Portia a great woman, she also inspired some great art. Below is the great masterpiece: Portia Wounding her Thigh, by Elisabetta Sirani (1664). According to Dr. DR. MAURA GLEESON, the painting was commissioned by a fabric merchant, which explains Portia's sumptuous outfit. Portia remains totally calm, yet focused and determined as the other women in the background idly spin clothes in the background. For more information on this masterpiece, click the link below:
Since International Women’s Day is Friday, I’m devoting the following week to talking about the awesome female characters in Shakespeare’s Roman plays: Titus, Andronicus, Julius Caesar, Antony and Cleopatra, and Coriolanus
First, here’s my post and an accompanying podcast on Roman women, which includes an analysis of Lavinia, Portia, Valumnia, and Cleopatra:
Here’s a fascinating video about the lives of Roman girls:
And here’s a special section about Cleopatra:
Comedy sketches about Cleopatra from “Horrible Histories” BBC, 2015.
A Lady-Gaga-esque song about Cleopatra from “Horrible Histories,” 2014Infographic from an article about Cleopatra’s beauty regimen. Source: http://socialdiary.pk/
For my Shakespeare club, I’m coaching two young actors on Viola’s celebrated soliloquy in Act II, Scene ii.I thought I’d share some of that work with you. In this speech, Viola has an epiphany; the lady she was sent to woo on her master Orsino’s behalf LOVES HER!
Viola has spent an unspecified amount of time disguised as a man. She has just tried (unsuccessfully) to woo Countess Olivia on behalf of her employer, Duke Orsino. Olivia seemed intrigued by her in her disguise as “Cesario,” and refused to hear any more words about Orsino, but asked Viola to come see her again. The Countess then sent her messenger Malvolio to give Viola a ring, which he claims she tried to give to Olivia as a gift. At first, Viola is confused and upset by the accusation, but slowly realizes that the ring is actually a gift for her; in fact, it’s a love token.
Traditional Interpretations
I think the comedy depends on how Viola reacts to the realization that Olivia loves her. I’ve seen some Violas that are embarrassed, some that are a little frightened (after all, hell hath no fury like a woman scorned), and others with sad sympathy. Viola is a good person, so she can’t laugh at the lovesick countess, but she can have a wry laugh at herself and how her disguise has caused all this trouble; making her unable to confess her love to him, while at the same time making Olivia think she is a handsome young man.
Michelle Terry In the Globe Theater (2021)
Michelle Terry as Viola in the 2021 production of “Twelfth Night”
Michelle Terry is very matter-of-fact in her portrayal. She doesn’t pause, she doesn’t drag out the lines. In fact, she seems more annoyed and scandalized than anything else. The comedy comes mainly from her gestures and movements as she talks to the audience as if they were one of her gal-pals- venting her frustration with this ridiculous situation.
Michelle Terry excels as Viola, straight-faced, tormented, only occasionally raising a conspiratorial eyebrow at the audience.
Judy Dench in the RSC TV show “Playing Shakespeare” is very sympathetic to “Poor Olivia, ” and plays the speech with a romantic sentimentality. She’s focused on Olivia, and feels awful for the false hope she’s given her.
Both these interpretations are valid, and they’re a good baseline for two sides of Viola’s personality- the sensitive genteel duke’s daughter who is sympathetic to Olivia, and the down-to-earth funny one who is willing to disguise herself as a boy to survive.
Literary Devices
Imagery
The main image here is the image of the knot- a central image of how convoluted this love triangle is.
I left no Ring with her: what meanes this Lady? Fortune forbid my out‑side haue not charm'd her: [650] She made good view of me, indeed so much, That me thought her eyes had lost her tongue, For she did speake in starts distractedly. She loues me sure, the cunning of her passion Inuites me in this churlish messenger: [655] None of my Lords Ring? Why he sent her none; I am the man, if it be so, as tis, Poore Lady, she were better loue a dreame: Disguise, I see thou art a wickednesse, Wherein the pregnant enemie does much. [660] How easie is it, for the proper false In womens waxen hearts to set their formes: Alas, O frailtie is the cause, not wee, For such as we are made, if such we bee: How will this fadge? My master loues her deerely, [665] And I (poore monster) fond asmuch on him: And she (mistaken) seemes to dote on me: What will become of this? As I am man, My state is desperate for my maisters loue: As I am woman (now alas the day) [670] What thriftlesse sighes shall poore Oliuia breath? O time, thou must vntangle this, not I, It is too hard a knot for me t'vnty.
It’s interesting to note that (in the First Folio text), the verse alternates between being regular, and using a run-on technique called enjabment, where the thoughts continue after the end of the lines, starting with lines three and four. Ironically, when Viola says that Olivia was distracted and confused when she visited her, her own thoughts are disjointed and fragmentary as she reaches the inevitable conclusion that Olivia is infatuated with Viola in her disguise.
Viola’s Emotional Journey
In the book “Shakespeare’s First Texts” by Neil Freeman he describes how the Folio prints the speech in four distinct sections. Freeman hypothesizes that Shakespeare organized this speech into four phrases that chart the stages of emotions Viola goes through:
Each stage has its own easily identifiable quality, reflecting the growing steps of Viola’s journey in what for her is a huge struggle not only to comprehend, but also to deal with the enormous complications of the dreadful love triangle- the potential results of which are now becomming only too clear.
Freeman, 175.
Stage 1: Introduction
In the first three and a half sentences, Viola goes through the facts- she gave no ring to Olivia, Olivia was eying her, and half paying attention to what Viola was saying. The phrase ends with Viola’s conclusion that Olivia must be in love with her.
Stage 2: Complications
The sentences are of very irregular length- sometimes six words per line, sometimes a few as four. According to Freeman, the irregularity of the verse shows how Viola’s emotions are getting the better of her. Viola could be gasping with remorse over the pain she’s caused Olivia, or shocked at how easily she was taken in by Viola’s disguise.
Stage 3: Crisis/ Catharsis
Each line of this section mentions the people in this love triagle: “My master,” “And I,” “And She,” etc. Viola might be thinking about the possible outcomes to this situation- getting fired, getting discovered, getting married, etc.
Stage 4: Summary: “O Time, Thou Must Untangle This, Not I.”
Like Hamlet before her and Macbeth after her, Viola ends her soliloquy by saying she has no conclusion. She has no idea how to solve this problem, but can only hope that Time will provide a solution.
Audience Interaction
As I said, this is a soliloquy, which is to say, a speech where the character is solo or alone onstage. Some people think this means that the characters are talking to themselves, but I firmly disagree with this notion. One reason why Shakespeare writes soliloquies is because they allow a character to share their thoughts and feelings with the audience. They are the ancestors of every aria or solo in opera and musical theater, and every Disney Princess/ Villain song. I’ve even said before that there are some similarities between Viola and a famous Disney Princess:
“Welcome Spirit, How Camest Thou hither?” The sources for Puck
Puck, in medieval English folklore, a malicious fairy or demon. In Old and Middle English the word meant simply “demon.” In Elizabethan lore he was a mischievous, brownielike fairy also called Robin Goodfellow, or Hobgoblin. As one of the leading characters in William Shakespeare’s Midsummer Night’s Dream, Puck boasts of his pranks of changing shapes, misleading travelers at night, spoiling milk, frightening young girls, and tripping venerable old dames. The Irish pooka, or púca, and the Welsh pwcca are similar household spirits.
Shakespeare also took inspiration from English poet Edmund Spencer, who visited Ireland in the 1590s and adapted the folklore he picked up into his opera The Fairy Queen, which Shakespeare adapted into A Midsummer Night’s Dream
Types of fairies you can “spot” at the Lullymore Park in Ireland:
Puck/Robin’s Dual Nature
The old stories tell that Fairies are magical creatures who live in hollow places in the earth. Some are benevolent and help give rain and pleasant weather to the Earth, Like the king and Queen of the fairies, Oberon and Titania:
And the mazed world, By their [the tides] increase, now knows not which is which: And this same progeny of evils comes From our debate, from our dissension; We are their parents and original.
— Titania, (Queen of the Faries), A Midsummer Night’s Dream Act II, Scene i.
Titania in this speech shows great concern for nature, humanity, and the planet. She believes it is the responsibility of fairies, particularly herself and her husband Oberon, to control the elements and keep humans and fairies safe. Some fairies, however, are cruel and enjoy playing tricks on mortals, just like Puck in A Midsummer Night’s Dream, or Queen Mab in Romeo and Juliet.
Close reading of Puck’s speech (MND II, i)
Close reading of Puck’s speech (MND II, i)
Close reading of Puck’s speech (MND II, i)
Close reading of Puck’s speech (MND II, i)
Close reading of Puck’s speech (MND II, i)
.
This is a short analysis I created of the tricks Puck plays on people in A Midsummer Night’s Dream, as part of my acting course on Ouschool.com. Note the different ways Puck is portrayed in photos as a satyr, a rotund elf, and sometimes as an almost- demon like figure.
Punishments or contracts with fairies formed a significant part of Goodfellow’s purpose on earth. While he could issue good fortune and support, this was always at the cost of those involved. As Reginald Scot commented, Goodfellow had a ‘standing fee’ of a ‘mess of white bread and milk’, which he expected after supporting housewives with their chores. If his payment was forgotten, Goodfellow was believed to steal from the home that owed him, often stealing grain and milk from the dairy.
Abigail Sparkes, Historic UK.com
Performing Puck
Because Puck is not human, and somewhat ambiguous in the text, an actor can play Puck in many different ways. Generally speaking, actors tend to explore Puck’s attitude toward humans, their love of mischief, and how to translate that physically and vocally
I am just ecstatic to talk about this year’s hit Broadway Musical Six. It swept the Tonys, and has opened up touring productions across the country, and I JUST GOT TO SEE IT!
This vibrant, clever retelling of Tudor her-story was created by TOBY MARLOW & LUCY MOSS in association with the Chicago Shakespeare Festival. The show is incredibly smart, and creative, and delves into the lives of some fascinating women, re-told as a singing contest with the characters singing their lives for you to judge what it was like being the queen of England and living with the turbulent and fickle Henry VIII.
What really appeals to me in this show is that like Hamilton, the musical takes these six semi-mythical women and tells their story in a way that is fresh and exciting. It bridges the gap between Tudor History and the modern-day by equating being a queen with being a celebrity, with all the drama of ambitious parents, romantic drama, public opinion, and even being exploited and sexualized by a male-dominated society. This comes across in the music, the costumes, the lyrics, and even the lighting!
Why “Six” Slaps
The costumes are brilliant and iconic. Catherine Of Aragon is like a cross between Beyonce, a saint, and a medieval knight. The lighting is incredible! You could tell the whole story using the lighting design as it pulsates, dances, changes into different colors, turns into different shapes, and finally flashes the name of the show in triumphant gold letters.
One particularly brilliant way the music works in “Six” is the fact that it uses the song “Greensleeves” as a motif both musically and thematically. One big theme of the show is how, unlike Henry VIII, most of the history of his six queens is lost and replaced by legends and even songs. The first line of the show is the famous rhyme about their fates: “Divorced. Beheaded. Died. Divorced. Beheaded. Survived.” As the video above helps illustrate, Marlowe and Moss know that most people only know the rhyme about their deaths and the myth that Henry wrote a song about one of them; that their lives are overshadowed by their deaths and the misconceptions that people have written over the years. Howard Ho points out how the song musically forces itself into the first number, “Ex Wives,” but by the end of the show, the six queens break free from these musical bars! You can hear the change of key and notes during this performance at the Tonys, which puts the opening number and closing reprise together.
The Cast of “Six” perform live at the 2021 Tony Awards.
But how do the queens go from “one word in a stupid rhyme,” to a group of powerful, individual queens singing in harmony, without the man who made them famous? That’s what the solo numbers in “Six” do so incredibly well- tell each queen’s solo stories as rocking ballads, hilarious dis-tracks, soulful love songs, and… well stay tuned.
Part II: The Women and Their Queenspirations
1. Catherine of Aragon
Catherine of Aragon was Henry’s first wife and is still universally beloved, even though Henry decided to divorce her. As the epitome of a stand-alone power queen, it makes sense that Six modeled her character, costume, and songs after Beyonce, with a Shakira-inspired Spanish beat for good measure:
My favorite thing about her solo, “No Way” is how the writers paraphrase her real-life speech during the divorce trial in 1529. Below are the lyrics and the real speech:
Alas, Sir, where have I offended you? Or what occasion have you of displeasure, that you intend to put me from you? I take God and all the world to witness that I have been to you a true, humble and obedient wife, ever conformable to your will and pleasure. This twenty years and more I have been your true wife, and whether it be true or no, I put it to your conscience.
— Katherine of Aragon, 1529
2. Anne Boleyn
In some ways, the version of Anne Boleyn in “Six” is less a pop version of the real queen and more of a commentary on the nature of celebrity. If you watch the video, you can see how in life she was admired for her beauty and fashion but hated for her comments on Queen Katherine, her scandalous love affairs, and her brash nature. This explains the spiky pop-punk princess look they gave her, (which evidently resonates with many audiences since I saw at least two girls cosplaying as Anne in the audience). Sort of like a celebrity who gets canceled on Twitter or Princess Diana, Anne shows how a person can be undone when they dare challenge an established order, especially the Royal Family.
After the show, I found it a bit weird that they portrayed Anne Boleyn as a jetsetting airhead, but then again she is one of the best-known queens in history, so they can get away with it. In reality, Anne Boleyn was highly educated and a member of an ambitious and social climbing family who basically pushed her to woo Henry. As you can see in this clip from “Anne Of A Thousand Days,” Henry and Anne’s family bullied her constantly to become the King’s mistress after HE ALREADY GOT HER SISTER PREGNANT, so Anne knew that the only way to keep Henry from ruining her life was to convince him to divorce Katherine of Aragon and marry her.
Of course, this strategy didn’t save Anne in the end, which says more about how cruel Henry VIII was, chewing up women and spitting them out in his ravenous quest for a son. So is this an accurate portrayal of Anne’s life? No. Is it fun, ABSOLUTELY!
III. Jane Seymore
I’m more than I seem, or am I?
“Six” The Musical.
This version of Jane Seymore was inspired by Adele, so appropriately, she has a heart-wrenching power ballad about her turbulent relationship with Henry. Sadly, we don’t know much about Jane’s real life, so the song takes some liberties. If you go to the Hampton Court Website, you can actually vote as to whether Jane was a devoted wife or a social climbing gold-digger. Probably the real woman was something even more complicated, though we’ll never know for sure.
IV. Anne of Cleaves
Anne of Cleaves is the funniest part of the show! Many of us have heard the story that Henry divorced Anne after he found her ‘ugly.’ What “Six The Musical” does is amend the story, by pointing out that after he divorced her, Henry gave her a castle and a huge retainer, allowing her to live like a queen, without being married to a king! Accordingly, her song is a Rhianna-style dis track that shows off her awesome lifestyle, and spits in Henry’s stupid face!
As fun as this, rags-to-riches story is, the truth is less fun- Anne was the sister of a German duke, so Henry’s lord Chancellor Thomas Cromwell probably forced Henry to marry her for diplomatic reasons (source: Hampton Court: “Anne of Cleaves”). Naturally, Henry didn’t like being told what to do- I suspect he resented Anne before even meeting her because he didn’t get to pick her himself.
As for whether Anne was actually ugly, the truth is really surprising- Henry actually disguised himself as a peasant during a masked ball when he first courted Anne, and she foundhim repulsive. At the time, Henry was 49 years old, and in very poor health. As such, he was intermittently impotent and blamed his inability to conceive a child with her on her supposed ugliness to save face.
Even though Anne in the show hates Henry, in reality, once the marriage was annulled, Anne and Henry remained good friends for years! She attended his next wedding to Katherine Howard, and, just like in the show, Henry treated her much better after the divorce:
‘YOU SHALL FIND US A PERFECT FRIEND, CONTENT TO REPUTE YOU AS OUR DEAREST SISTER. WE SHALL, WITHIN FIVE OR SIX DAYS …DETERMINE YOUR STATE MINDING TO ENDOW YOU WITH £4000 OF YEARLY REVENUE…YOUR LOVING BROTHER AND FRIEND.’
Henry VIII, 1548, six months after their wedding, when the annullment went through.
V. Katherine Howard
Without question, Katherine Howard is portrayed as the most tragic of Henry’s six wives and her song is a huge sucker punch. The writers never let you forget that Katherine’s first affair was when she was 13, and she died at age 19. Like Anne Boleyn and Jane Seymore, Henry picked Katherine for his queen among his ladies in waiting and her song “All You Wanna Do” satirizes his and many other men’s lustful appetites. The song begins as a raunchy, sexy pop ballad in the vein of Britney Spears’ “Toxic” and “Womanizer” about Katherine Howard’s love affairs, but then devolves into a cry for help, as Katherine confesses how she was abused, used, and manipulated by the men in her life, (including her own cousin Thomas Culpepper) until she was beheaded in 1542. It masterfully satires both Henry’s cruelty and the hypersexualization of teenage pop stars which certainly took its toll on Britney Spears and Ariana Grande, Katherine’s major ‘Queenspirations.’
VI. Katherine Parr
Historically, Katherine Parr had to turn away her fiancee Thomas Seymore (just like Anne Boleyn was previously engaged to Henry Percy) once the king set his eyes on her for his wife, so her song is a sad, soulful Alicia Keys-inspired bittersweet song where she tearfully says goodbye to Thomas to spare his feelings and probably his life.
Not only does this song once again show how Henry’s selfishness and his lust ruined the lives of the women he married, (as well as the men who already wanted to marry them), but it also sets up the main idea of the show:
His-Story overthrown
In the final number, the wives turn the tables on Henry- they have spent centuries being defined by him, but in reality, he is just as much defined by them! Going forward, history should not define these great women as just, “The Six Wives of Henry the Eighth,” but to celebrate their individual lives and contributions to history. Katherine Parr mentions this when she points out that in life, she fought to allow women to be educated, she wrote books, and was a scholar of theology. Historically, Henry and Katherine would argue about religion and he nearly executed her after she disagreed on points of theology, but Katherine kept her life by claiming she was “Not disagreeing with [him], but simply learning from [him].”
I Don’t Need Your Love is sung by Catherine Parr in SIX: The Musical. The first part of the song refers to her love of Thomas Seymour, whom she probably wanted to marry rather than Henry (and did marry after Henry’s death). However, the song also protests at the fact that women are often defined by their relationship with men, rather than as people in their own right. Catherine wants to be remembered for what she did, rather than the men she married or loved.
Katherine Parr, Six.
The final number completes the idea of the ‘historemix’ by having the Six queens/pop stars come up with a re-imagined happy ending for themselves, one that doesn’t include the pain that Henry inflicted on them: Katherine A becomes a singing nun, (like Whoopi Goldberg in Sister Act), while Anne Boleyn starts writing lyrics for Shakespeare (which is a fun idea since he does mention “Greensleeves” twice). Jane Seymore forms a band with her many surviving children, Katherine Howard goes solo, and Katherine Parr joins the other queens in a supergroup. It’s not at all historical, but it is a fun and sweet way to put an epilogue on these (mostly) tragic lives.
It’s odd, however, that the show invents an epilogue instead of talking about the six queen’s greatest legacy- Queens Elizabeth and MaryI. For a show that wants to highlight the often-forgotten legacy of these queens, it is an odd oversight. Remember Catherine and Anne gave birth to queens who eventually ruled England without a king. Jane Seymore gave birth to a king, and Catherine Parr helped raise them and restored them to the line of succession- She’s the reason her stepdaughters were able to become queens in the first place.
My issues with the epilogue aside, it is great to see history be recontextualized and shared in such an accessible way. We all know that European history is dominated by the names of white guys- king whoever, duke what’s-his name. To see important women in history be given a voice by a multi-ethnic cast is a great way to make it resonate, and using the metaphor of pop stars works extremely well in this context- these women mostly didn’t choose stardom, but they deserve it for what they went through.
Brava.
Educational links related to the six wives of Henry VIII:
The Shakespearean Student 