Review: A Midsummer Night’s Dream, (2021)
What do you think of when you think of “Shakespeare?” What do you think of when you think of “A Midsummer Night’s Dream?”
Ruffs and Tights?
Mostly white dudes?
Dark night and moon?
This production, directed by Michelle Terry, is gleefully throwing out every preconceived notion of what A Midsummer Night’s Dream can or should be. In terms of design, casting, music, and interpretation, it breaks all the rules, while still remaining true to the text. This allows the production to appeal to not only hard-core Shakespeare fans, but first time audiences and children too!
I got to see this production thanks to the Globe’s online streaming library. My mother kindly shared me a link to this recording from the summer of 2021. You can watch it yourself on: https://www.shakespearesglobe.com/watch/#full-length-productions
I would describe the concept behind the show as “Suggestive,” that is, it doesn’t belong to a literal time and place. Even though the play is set in Ancient Greece, the play refuses to be constrained by historical accuracy, which arguably, fits nicely with Shakespeare in particular, and the Globe itself; a modern building in a modern city, based on a 400-year-old building.
The music and costumes evoke a New Orleans Mardis Gras, a Pride parade, or a Spanish pinata with its bright colors, heavy use of fringes, and bright, energetic jazz music. The only people who don’t wear bright colors are the four lovers, which reflects their continuous frustration with being unable to marry the person they really want.
The show is also Color blind and gender blind, with women playing men’s parts and a cast with black, white, and mixed race actors. Terry’s direction also calls attention to the patriarchial, racist, and sexist elements of Athens which are often overlooked in other interpretations of Dream that I’ve seen or read about. Rather than being a hero, Theseus is a horny old man in a ludicrous pink uniform, looking like a cross between M. Bison and a Christmas nutcracker. To reinforce this point, the actor chose to perform one of Theseus’ most patriarchial speeches as a joke:
Theseus. What say you, Hermia? be advised fair maid:50
To you your father should be as a god;
One that composed your beauties, yea, and one
To whom you are but as a form in wax
By him imprinted and within his power
To leave the figure or disfigure it. -Midsummer Night's Dream, Act I, Scene i.
I’ve seen this speech heavily cut and played seriously, but never till now did I see it played to ridicule the ludicrous notion that women are in any way bound to worship their fathers.
In another nod to contemporary gender politics, the actress who plays Hippolyta and Titania chose to perform her role on crutches. As far as I can tell, this was a deliberate choice and not a result of real injury. There is a precedent for this: In 1984, Sir Antony Sher performed Richard iii on crutches because it highlighted the cruelty people with disabilities often suffer.
I could be wrong, but I think that the reason the actress was on crutches was a symbolic way of confronting the way gender politics can cripple women.
Many scholars have pointed out how Hippolyta rarely speaks despite the fact that she is supposed to be the powerful Queen of the Amazons, and Theseus’ fiance besides. Shakespeare makes it clear that their marriage was arranged as a political alliance after the Amazons lost to Athens in a war:
Hippolyta, I woo'd thee with my sword,
And won thy love, doing thee injuries;20
But I will wed thee in another key,
With pomp, with triumph and with revelling.
With this in mind, it makes sense to have Hippolyta on crutches as a result of her injuries. Those injuries might also explain her silence; she has lost her agency now that she is essentially Theseus’ prisoner. One might think of any number of war atrocious where women have been sold to powerful men over the centuries. In short, by putting Hippolyta on crutches, we see a glimpse into her tragic story that most productions just gloss over- that she has lost a war, been separated from her people, and is now her enemies’ prisoner through marriage.
I’ve come to expect high quality acting from The Globe Theater Company and this cast did not disappoint. As we watched it together, my family concluded that this was one of the best acted productions of Dream that we’ve ever seen, which between us has to be over 30 plus productions.
The delivery is crisp and fast paced. Every actor has taken these words and made them their own. They speak them as if they were written yesterday. One thing I love about the Globe is that the directors encourage this kind of fast paced delivery; with no distracting special effects or sets, the actors have to captivate the audience with their delivery of Shakespeare’s text, without being melodramatic or self-indulgent. I’m pleased to say that this cast does a fantastic job of telling this magical story in a compelling and very modern way.
I’ve shown my recording to kids, teens, adults, and my family, and everyone has a different reaction to the show. Maybe this isn’t quite your cup of tea, but the concept is sound, the acting is high caliber, and it utilizes the Globe’s unique qualities extremely well.
I personally didn’t care for Bottom just because I felt the actress was playing a very energetic part with too much sarcasm and tongue in cheek, but that’s mostly personal preference. I did however love Peter Quince, Snout, Snug, and the rest of the Mechanicals. Peter Quince is a rather thankless part but it’s great to see someone balance being a straight man trying to reign in Bottom’s antics. and an idiot who has no idea how to direct a company of actors, which the actress playing Quince did very well.
Summer Shakespeare Academy!
I’m working this summer with the good people at Outschool, an online learning platform for kids ages 3-18. I’m designing a series of Shakespeare classes that you can sign up for. We’ll be doing acting exercises, reading Shakespeare’s text, and making Shakespeare props Cost is $3 per child.
The course is ala carte, that is, you can sign up for as many courses as you like. Each course builds on the last one, but you don’t have to have taken the previous ones to enjoy any one particular course Let me know in the comments which class(es) you are interested in, and/or what suggestions you might have. I can’t wait to hear what you think about these summer Shakespeare courses, and I hope to see you online soon!
1. Introduction to Shakespeare- (enrollment here: https://outschool.com/classes/introduction-to-shakespeare-or-how-i-learned-to-love-the-bard-UoHH5fes?sectionUid=973060db-f857-461a-a23a-f1476203a544&showDetails=true) We’ll talk about why Shakespeare is so famous and learn about his life and career. Then we’ll do some fun quizzes that you can earn prizes based on how well you pay attention!
2. How to write ✍ like Shakespeare (Enrollment here: https://outschool.com/classes/how-to-write-like-shakespeare-0HuPq1Cg?sectionUid=4243af25-ba41-4724-82a2-61bd7c7d862e&showDetails=true) – Have you ever wanted to woo your sweetheart or write the next bestselling play? Well, this course will cover the secrets of Shakespeare’s writing. We’ll cover how to write romantic poems, the structure of Shakespeare’s plays, and you’ll get to write your own Shakespearean speeches!
3. Intro to Shakespearean acting Practical tips and tricks for your next Shakespeare audition.
4. Shakespeare’s villains We’ll look at the darkest and creepiest Shakespearean characters and see why they still fascinate us today!
5. The Violent Rhetoric Of Shakespeare’s Julius Caesar (Registration Here: https://outschool.com/classes/the-violent-rhetoric-of-julius-caesar-fkMLbAtA?sectionUid=1f9220cd-8c28-438d-9799-8479494353a4&showDetails=true#usMaRDyJ13) In this one-time course, students will analyze the rhetoric and persuasive power in two speeches from Shakespeare’s “Julius Caesar”
6. Intro to Romeo and Juliet – Get a leg up on your next English class with this fun, frenetic look through the characters, themes, and story of Shakespeare’s most popular, and most-taught play.
7. Basics Of Stage Combat (Registration here: https://outschool.com/classes/1120ada2-047d-4b0f-84f6-5eb4b0f7dc66/schedule#usMaRDyJ13– I’ll teach the kids about Elizabethan street fighting, and the basics of stage combat.
8. The Balcony Scene of Romeo and Juliet– It’s been called the greatest love scene of all time, but why? I’ll explain the imagery, the poetic language, and give you a chance to make your own love poetry!
9. Insults and Shakespeare You’ll craft your own Shakespeare insults and engage in a (respectful), beat down with your classmates! Along the way, we’ll talk about how insults escalate to violence in Shakespeare’s Romeo and Juliet.
10. The Iconic imagery of Romeo and Juliet We’ll look at some beautiful paintings, songs, and other works of art that build on Shakespeare’s poetic imagery.
11. Romeo and Juliet and pedagogy Shakespeare is uniquely challenging to get kids to engage with. I’ll give you some of my resources, games, and activities to help you delve into the play in your next class.
If you like these courses, let me know by leaving a comment below. If you’re interested in signing up, visit my teacher profile page: https://outschool.com/teachers/The-Shakespearean-Student. New classes will be added every week, and I’ll work around your schedule when planning the dates and times. Hopefully this will be a great chance for me to share my expertise with a young group of future Shakespearean students!
What Does Shakespeare Say About Ireland 🇮🇪?
Happy St. Patrick’s Day! The Emerald Isle has long been a source of illumination for poet’s pens and Shakespeare was no exception. The Bard of Avon is indebted to Mother Ireland not only for the inspiration he took, but sadly for the pain he gave her back.
None of Shakespeare’s plays are set in Ireland, but he freely adapted elements from Irish folklore. English poet Edmund Spencer 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
The Irish created and continue to tell many of the fairy legends and stories that we retell and adapt today. If you go to Lullymore park in Ireland, you can see a place that is essentially a “Fairy preserve.”
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.
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.
Cringe-worthy Shakespeare: Shakespeare’s only Irish character, captain mcmorris in “Henry V”
When Shakespeare is racially insensitive towards people of color, the cringe-worthy writing is mercifully few and far between. With the exception of Aaron the Moor and Don Armada, there are only a few sporadic derogatory references to non-White Anglo-Saxon Protestants. Sadly though, Shakespeare might have permanently harmed the Irish through his character the Irish captain Macmorris in Henry the Fifth, his only Irish character.
According to The Irish Times, there is a longstanding stereotype that still exists in the British Isles that Irish people are violent, short-tempered, and essentially savages and Shakespeare might have invented this stereotype (or at least popularized it) when he wrote this scene from Henry the Fifth, Act III, Scene ii:
To the mines! tell you the duke, it is not so good
to come to the mines; for, look you, the mines is
not according to the disciplines of the war: the
concavities of it is not sufficient; for, look you,
the athversary, you may discuss unto the duke, look
you, is digt himself four yard under the
countermines: by Cheshu, I think a' will plough up
all, if there is not better directions.
The Duke of Gloucester, to whom the order of the
siege is given, is altogether directed by an
Irishman, a very valiant gentleman, i' faith.
It is Captain Macmorris, is it not?
I think it be.
By Cheshu, he is an ass, as in the world: I will
verify as much in his beard: be has no more
directions in the true disciplines of the wars, look
you, of the Roman disciplines, than is a puppy-dog.
Enter MACMORRIS and Captain JAMY
Here a' comes; and the Scots captain, Captain Jamy, with him.
Captain Jamy is a marvellous falourous gentleman,
that is certain; and of great expedition and
knowledge in th' aunchient wars, upon my particular
knowledge of his directions: by Cheshu, he will
maintain his argument as well as any military man in
the world, in the disciplines of the pristine wars
of the Romans.
I say gud-day, Captain Fluellen.
God-den to your worship, good Captain James.
How now, Captain Macmorris! have you quit the
mines? have the pioneers given o'er?
By Chrish, la! tish ill done: the work ish give
over, the trompet sound the retreat. By my hand, I
swear, and my father's soul, the work ish ill done;
it ish give over: I would have blowed up the town, so
Chrish save me, la! in an hour: O, tish ill done,
tish ill done; by my hand, tish ill done!
Captain Macmorris, I beseech you now, will you
voutsafe me, look you, a few disputations with you,
as partly touching or concerning the disciplines of
the war, the Roman wars, in the way of argument,
look you, and friendly communication; partly to
satisfy my opinion, and partly for the satisfaction,
look you, of my mind, as touching the direction of
the military discipline; that is the point.
It sall be vary gud, gud feith, gud captains bath:
and I sall quit you with gud leve, as I may pick
occasion; that sall I, marry.
It is no time to discourse, so Chrish save me: the
day is hot, and the weather, and the wars, and the
king, and the dukes: it is no time to discourse. The
town is beseeched, and the trumpet call us to the
breach; and we talk, and, be Chrish, do nothing:
'tis shame for us all: so God sa' me, 'tis shame to
stand still; it is shame, by my hand: and there is
throats to be cut, and works to be done; and there
ish nothing done, so Chrish sa' me, la!
By the mess, ere theise eyes of mine take themselves
to slomber, ay'll de gud service, or ay'll lig i'
the grund for it; ay, or go to death; and ay'll pay
't as valourously as I may, that sall I suerly do,
that is the breff and the long. Marry, I wad full
fain hear some question 'tween you tway.
Captain Macmorris, I think, look you, under your
correction, there is not many of your nation--
Of my nation! What ish my nation? Ish a villain,
and a bastard, and a knave, and a rascal. What ish
my nation? Who talks of my nation?
Look you, if you take the matter otherwise than is
meant, Captain Macmorris, peradventure I shall think
you do not use me with that affability as in
discretion you ought to use me, look you: being as
good a man as yourself, both in the disciplines of
war, and in the derivation of my birth, and in
I do not know you so good a man as myself: so
Chrish save me, I will cut off your head.
Gentlemen both, you will mistake each other.
A! that's a foul fault.
A parley sounded
The town sounds a parley.
Captain Macmorris, when there is more better
opportunity to be required, look you, I will be so
bold as to tell you I know the disciplines of war;
and there is an end.
Irish History and Shakespeare: The tempestous relationship between england and Ireland
The mayor and all his brethren in best sort,
Like to the senators of the antique Rome,
With the plebeians swarming at their heels,
Go forth and fetch their conquering Caesar in:
As, by a lower but loving likelihood,
Were now the general of our gracious empress,
As in good time he may, from Ireland coming,
Bringing rebellion broached on his sword,
Henry V, Act V Chorus
James Shapiro in his excellent book, A Year In The Life Of William Shakespeare, 1599, posits that contemporary affairs in Ireland might have inspired some of Shakespeare’s greatest plays in including Richard II, Henry V, and Julius Caesar. In 1594 the Earl of Tyrone began a rebellion in Ireland against the English, and in 1599, Queen Elizabeth dispatched the ambitious and chivalrous Earl of Essex to quell it. As you can see in the quote above, Shakespeare mentions Essex’s fight in his play of Henry V, which probably premiered at around the same time Essex was in Ireland.
The audience may have been watching Henry conquer France, but many would have been thinking about Elizabeth’s struggle to conquer Ireland.BBC Radio 4 Extra – Shakespeare’s Restless World, Ireland: Failures in the Present – Transcript – Shakespeare’s Restless World – Programme 7
Though King Henry successfully conquered and united England and France, Essex failed spectacularly, and Elizabeth was deeply embarrassed by the whole scenario. She was also deeply alarmed by the popularity of Shakespeare’s tragedy Richard II, which shows onstage the deposing and killing of a king who had no children and failed to quell a rebellion in Ireland.
Elizabeth was worried about her subjects but she was also very worried about Essex overseas. Everyone, (including Shakespeare), remembered that 2,000 years ago, Julius Caesar went from him the Senate’s Consul General to dictator by amassing an army, then threatening to invade Rome under the pretense of helping to quell a foreign invasion. Caesar made his name by subjugating tribes in Gaul (modern-day France), and the Senate was worried that he would come home and use his army for a military coup. Look at the expressions on the faces of Cicero and Brutus when they see Caesar coming home in triumph in this scene from the HBO series Rome.
Elizabeth repeatedly attempted to curb Essex’s power while he was fighting in Ireland; she refused to give the Earl more troops for fear that he might be staging a potential coup. Her fears would later be proven right when in 1602, Essex attempted to head a rebellion and take the Crown for himself, but not before one of Essex’s friends commissioned Shakespeare’s company to portray the deposing and killing of King Richard II. Essex was trying to turn himself from a failed Henry V to a victorious Henry IV, and his queen into Richard II.
Shakespeare might have been inspired to write Julius Caesar after being an unwitting pawn in the political drama between Essex and the queen, and might have even created the character of Cinna the Poet as an analog for Shakespeare himself. In the play, Cinna the poet is mistaken for one of the conspirators by an angry mob and is murdered in the street. Perhaps Shakespeare created Cinna the Poet as a way of coping with the fear he must have had that people might mistake him for a radical, after his play Richard II briefly made him a walking target for those opposed to Essex’s rebellion. In any case, Julius Caesar eloquently documents the kind of anxiety of not knowing who could be trusted when it comes to politics, whether it be a populist warrior like Julius Caesar or Essex, or the Queen, privy council, or indeed Roman senate, and the whole thing started from a failed attempt to quell a rebellion in Ireland.
In summation, even though Shakespeare sets no plays in Ireland, Irish history and Irish culture are everywhere in his plays. England and Ireland are I are indeed separate islands but the cultural exchange between England and Ireland has inspired Shakespeare and many other great writers for centuries. After all Shakespeare’s most famous honorific, ‘the Bard of Avon’ comes from an ancient Irish tradition of semi-mystical poets, who in Irish folklore, were able to see the future and glimpse worlds that are unseen to ordinary mortals. What Shakespeare really felt about Ireland we don’t know but we do him but he does owe the Irish people a lot of thanks, and on this Saint Patrick’s day, I honor their contribution to him and to him all the world
Shapiro, James. A Year In the Life Of William Shakespeare, 1599. Chapter 6: Things Dying and Things Reborn.
The Fashion Is The Fashion 2: Clothing and Twelfth Night
In doing my research for Twelfth Night, I came across a fantastic production from Shakespeare’s Globe in 2002. It used what is known as “original practices,” meaning that the actors tried to replicate everything we know about the way Shakespeare’s actors performed.
The play was performed in the great Globe Theater, which is itself a replica of Shakespeare’s original playhouse, which means that it was outdoors, using mostly natural lighting, and minimal sets. https://youtu.be/qtoUeVjP_rs
In addition, all the women’s roles were played by men, and the actors played multiple parts, which were all accurate stage practices from Shakespeare’s era. Most exciting of all, the actors all wore authentic 17th century costumes designed by veteran costume designer, Jenny Tiramani:
Few things determine how an actor moves or looks more than the clothes he or she wears, and watching these actors wear doublet and hose and real Jacobean dresses really fires up my imagine and makes me feel that I’ve truly been transported through time. The production is available on DVD, as well as several clips on YouTube, and I urge you to take a look at it. In the meantime, I’d like to comment a little on how the costumes from this production inform the audience about the characters that wear them.
Some Info On 17th century fashion
- Tight pants or hose, and stockings designed to show off the legs
- Tight jackets made of wool or leather called doublets
- By the 17th century, starched ruffs were being replaced with lace collars.
- Starched collars called ruffs around the neck.
Longer skirts, often embroidered with elaborate patterns
* Servants- Servants like Cesario (who is actually the Duke’s daughter Viola in disguise), would typically wear matching uniforms called liveries, a sign of who they worked for and their master’s trust in their abilities. People judged the aristocracy by how well they trained and controlled their servants, so wearing your master’s livery meant he trusted you to represent his house.
In her first scene as Cesario, a servant named Curio remarks to her that Orsino has shown favor to “him” from the very beginning. This might explain the rich garments that Viola wears in this production, which resemble a noble gentleman more than a servant.
A higher ranking servant like Malvolio would be able to wear a higher status garment, which is why you see Steven Fry as Malvolio dressed in a handsome doublet.
3. Character notes:
* What are they wearing?
* Why are they wearing it?
* How do the clothes inform the movement?
1. Viola (Eddie Redmane) Viola, the star of the show, begins the show as the daughter of a duke, who has just been shipwrecked in a foreign country, so her clothes must look bedraggled and worn, yet appropriate to her status. As I said before though, for the majority of the play, Viola is disguised as the servant Cesario
2. Malvolio (Steven Fry)
- Malvolio wears dark colors since he’s a Puritanical servant.
- He mentions that he has a watch. The first ever wristwatches ever came into being around this time.
- Most productions give Malvolio a Gold chain and/ or a staff of office to show his status, and his prideful nature.
- In Act III, Malvolio is tricked into wearing yellow stockings with cross garters.
3. Maria the Countess Olivia’s maid, (who has an appetite for tricks and pranks), Maria’s job is to dress and help Olivia with her daily routine. This might include tying up her corset, putting on her makeup, and helping her with the elaborate gowns that nobles wore during this period. In the video below, you can watch a dresser help get an actress into an elaborate costume for another Globe theatre production. Just think of the amount of time and hard work it would take for a servant like Maria to dress Olivia every day!
In the play, Viola momentarily mistakes Maria for her mistress because she wears a veil. This also suggests that, rather than wearing a livery like Cesario, maybe Olivia let Maria wear some of her older clothes, which was a common practice for high level servants. A lot of the costumes Shakespeare’s company wore were probably hand me downs from their aristocratic patrons.
4. Olivia (Mark Rylance)
In this production, the countess and all the female roles were performed by men, just as they were in Shakespeare’s Day. Mark Rylance, who played Olivia, was also the Artistic Director of the Globe Theatre.
- Olivia is mourning her lost brother, which is why she’s traditionally dressed in a black dress and veil
- The dress is black silk with elaborate embroidery, as you can see from this actual sampler of the real fabric used in the show. You will also notice the threads holding the fabric together with metal points at the end. Olivia’s gown was hand sewn into many different pieces and tied together with these points. One nickname Shakespeare gave servants like Maria was “One who ties [her] points.”
- The dress is large and has a long train, making it hard for the actor to move: https://youtu.be/dcSNTspXGYk
Costumes like these offer a tantalizing glimpse into history. Just as Shakespeare’s words help an actor bring to life the thoughts and feelings of his age, The type of clothes his company wore helps the actor embody the moiré’s and desires of Shakespeare’s society, whether a mournful countess, a dazzling gentleman, or a reserved Puritan.
“Q&A: Mark Rylance on Shakespeare, Twelfth Night and Richard III” Time Out Magazine. Posted: Tuesday November 12 2013
Retrieved online from https://www.timeout.com/newyork/theater/q-a-mark-rylance-on-shakespeare-twelfth-night-and-richard-iii
Minton, Eric. Twelfth Night: What Achieved Greatness was Born Great.
Posted May 22, 2014 to http://shakespeareances.com/willpower/onscreen/12th_Night-Globe13.html.
If you liked this post, please consider signing up for my online course “Christmas For Shakespeare,” which will talk about the costumes, characters, and themes of Shakespeare’s play Twelfth Night, as well as Christmas traditions from Shakespeare’s day: https://outschool.com/classes/what-was-christmas-like-for-william-shakespeare-BwVLyBPp?sectionUid=75ee7895-c8ac-437c-9ef7-05cf8e3bf114&usid=MaRDyJ13&signup=true&utm_campaign=share_activity_link
Shakespeare’s Perfect Halloween Play
With just a few days left until Halloween, many of us will be anxious to put the candy bowl away, dim the lights, and watch a scary movie. I’d like to recommend my pic for the single best Shakespeare play for Halloween, and you might be surprised to learn which one it is:
It’s not Macbeth, despite its ghosts and witches, it’s not Hamlet, though it has a famous scene in a graveyard. In my opinion, the scariest, most horrific, most disturbing Shakespearean play is the ancient Roman revenge tragedy Titus Andronicus!
Titus is the most violent, most outrageous play in the Shakespearean cannon and features murder, mutilation, cannibalism, (and even featured the first recorded trick or treating). It was also his first tragedy ever, written around 1590. Back in this period, Shakespeare’s theater was also the site of public executions and blood sports like Bear-baiting, so Shakespeare knew that gore sells. He also knew that people were reading the bloody tragedies of the Roman poet Seneca, so he created a play that out-does the Roman master of bloody violence!
So why have you not heard of it?
- Too violent for school For most people, their first encounters with Shakespeare is in the classroom, and because of the violence in this play it’s definitely not appropriate for high school. The most famous atrocity in the play happens to Titus’ daughter, who is raped offstage. Then, to keep her from incriminating the men who raped her, the rapists cut off her hands and cut out her tongue. Quite a departure from the “Honey tongued” Shakespeare we see in the comedies and sonnets.
- It’s vulgar: T.S. Eliot declared that Titus Andronicus is “one of the stupidest and most uninspired plays ever written.” For people who expect Shakespeare to be poetic and romantic, this play is a sad dissapointment.
- It’s Over the top- People don’t just die in this play, they get butchered horror movie style! Some get stabbed and thrown in a pit, some get their limbs chopped off, one character is buried alive! Many scholars say that after one atrocity after another, the only way you can react to the horror onstage is to laugh. Look at this scene where the villain of the play, Aaron the Moor, confesses to a laundry list of hideous atrocities which he did just for the pleasure of being evil:
Scholars often compare the dark comedy of Titus to the films of Quentin Tarantino, who will murder his characters in grotesque, but funny ways. I won’t even give away the surprise ending where Titus and his daughter gets their revenge, but let’s just say that they would certainly agree with Tarantino that revenge is a dish, best served cold!
- It might be racist As I mentioned in the clip above, the main villain of the play is a black man. Aaron, like Richard III is completely evil and unapologetic about it. When I was studying Shakespeare in college, James Earl Jones, (Darth Vader himself) came to my school to talk about Shakespeare’s racially diverse characters. He argued though that nobody treats Aaron any differently until they learn about his heinous crimes and that the person who seems to hate Aaron’s blackness the most is himself. Look at this passage and see if you agree:
Look by and by to have thy sons with thee.
Aside Their heads, I mean.
O, how this villany
Doth fat me with the very thoughts of it!
Let fools do good, and fair men call for grace.
Aaron will have his soul black like his face (Titus, Act III, Scene 1).
Now the question to ask about Aaron and most of Shakespeare’s villains, is are they bad because they’re different (different race, differently abled, illegitimate birth), or did they become bad from people treating them badly?
Serious note– Even though productions often dramatize the violence and rape in Titus as over-the-top black comedy, this kind of rape and violence happens in real life, every day, particularly violence against women like Lavinia. One reason why this play is gaining popularity is sadly, that this kind of violence is more common in our current society with the shocking number of rapes committed in this country (1 in 5 women, according to the National Sexual Violence Resource Center), and the brutal murders in this play suggest many real-life atrocities such as Abu ghraib,
Plot summary and more at Schmoop.com
More at http://www.gradesaver.com/titus-andronicus/study-guide/summary
Review of Julie Taymor’s Titus
If you can’t get to the theater this Halloween and want to watch a production of Titus, you’re in luck: In 1999, Julie Taymor, famed director of the Broadway production of The Lion King, directed a film adaptation of Titus which I consider the single greatest Shakespearean film of all time. The movie captures the grotesque comedy of the play, while also visually showing the beauty of Shakespeare’s poetry. It also doesn’t get hung up on historical accuracy just because the play is set in Rome. Best of all, the cast in incredible: Anthony Hopkins, Jessica Langue, Alan Cumming, Harry Lennox and more. This cast knows how to do Shakespeare for the movies and their work shows in every scene. Interesting side note: Hopkins actually considered making this movie the last movie of his career, which explains his amazing glee and energy in the role of Titus. Below is a nice in-depth analysis of the film
Another good review comes from the French Shakespeare Society: https://shakespeare.revues.org/1558
And finally, a review from Roger Ebert: http://www.rogerebert.com/reviews/titus-2000
So that’s my two cents on Titus Andronicus. Happy Halloween everybody!
A Few Quick Updates
I know it’s been a while, but I’ve been moving into my new place so it’s been hard to find time for blogging. Anyway, some exciting Shakespeare news out in cyberspace, and I’d like to report on some of the ones that make me really excited!
Sir Kenneth Branaugh, Shakespearean actor, director, and founder of the Renaissance Theater company, is putting on a series of productions, including a production of “The Winter’s Tale” with…. DAME JUDY DENCH! This production will be broadcast in theaters around the country, look for theaters in your area! Here is the official trailer:https://embed.theguardian.com/embed/video/culture/video/2015/sep/10/kenneth-branaghs-the-winters-tale-watch-the-trailer-video
- There is a new movie version of Shakespeare’s “Macbeth” coming out in the next few months, starring Michael Fassbender (now he and Ian McKellen have shared 2 big film roles!)
For teachers, there are now condensed versions of Shakespeare plays that might be easier for some students to read: http://www.fivestarpublications.com/shakespeare/sixty.html
- You might have heard of this trend of actors speaking lyrics to pop songs like Shakespearean actors. I’d like to say that, for the record, most good Shakespearean actors know not to talk like prissy weirdos, but that this is absolutely hilarious, especially the one for Gangam Style! http://mashable.com/2015/09/24/15-second-shakespeare/?utm_cid=mash-com-fb-main-link#a6zKE_iemmqn
Ok, that’s it for now. Tune in for a new podcast, new play of the month, and some new reviews.
Juliet’s Infinite (Variety) Playlist
Hello Loyal Subscribers and First Time Readers!
Those of you who read my post for Much Ado About Nothing will probably remember that I made a post like this one last year. I created a fake playlist of songs that I though the protagonists, Benedick and Beatrice, might want to hear during moments of the play. Well, since this year our Romeo and Juliet focuses greatly on the influence of technology in everyday life, I felt it would be appropriate to make another playlist.
For those of you who didn’t read the older post, this is a game!
The way it works is I provide you with a list of the events that happen to Romeo, and then a fake ipod Playlist screen. This screen has a group of songs that I chose because I feel Romeo might want them as part of his ‘internal soundtrack.’ So if Romeo is feeling sad at a particular moment, you look at the playlist and try to pick a song that would match his mood. Yesterday I did Romeo’s playlist and today I’ll do Juliet’s.
Anyway, enough gabbing. LET’S PLAY!
Part I: Events that Happen To Juliet (In Chronological Order)
- Like a dutiful daughter, Juliet promises to meet Paris at the Capulet ball.
- Juliet is immediately stuck with true love when she dances with Romeo.
- Caught up in love and passion Juliet kisses Romeo at her balcony and pledges to be with him forever.
- After sneaking off to Friar Lawrence’s cell, Juliet secretly marries Romeo.
- Juliet anxiously awaits her first night with Romeo as a married woman.
- After spending one last tender night with her Romeo, Juliet tries to keep him by her side, even though she knows he has to leave.
- Juliet defies her father by refusing to marry Paris and he threatens to disown her.
- Terrified and repulsed by the idea of marrying Paris, Juliet visits Friar Lawrence’s cell, begging him to either help her or let her die.
- Haunted by Tybalt’s memory, Juliet reluctantly takes Friar Lawrence’s potion to make herself seem dead. She is taken to her family’s crypt.
- Awakened from her sleep and seeing her husband Romeo dead, Juliet stabs herself.
- Epilogue: Through Julie’s death, her father reconciles with Montegue.
Part II- The playlist- try to match these songs with the events above.
So now you know the rules, enjoy the game. Send your answers to us by leaving a comment below or by emailing us at firstname.lastname@example.org. If you have other suggestions for the playlist, let us know and we’ll make a new one!