This is my new trailer for my fully online, fully immersive murder mystery game based on Shakespeare’s “Romeo and Juliet.” You play as a detective hired to solve the mystery of Juliet’s murder. You will piece together the plot and characters of Romeo and Juliet, but also use forensic science to identify clues, interrogate suspects, and examine the crime scene just like a real detective! Register now at Outschool.com SPECIAL OFFER: Get $5 off the murder mystery class with coupon code HTHESSQ76F5 until Apr 22, 2023. Get started at https://outschool.com/classes/romeo-a… and enter the coupon code at checkout.
I’m pleased to announce my brand-new, fully immersive, fully online murder mystery game! Similar to my “Macbeth” and “Interactive Guide To London,” course, the course is a series of slides, videos, digital activities, and websites that you explore and complete based on your knowledge of a Shakespeare play. Unlike that course, this one also includes real-life science experiments and handy guides to both the play “Romeo and Juliet” and forensic science!
Background on the game
Through a series of slides, you’ll learn that you are playing the part of a detective, hired by Juliet’s parents to investigate her sudden death. You’ll read her obituary, look at a crime scene photo, and the story so far.
Parts of the course:
The major players of the game
The class is divided into 8 parts that students can complete at their own pace over a 4-week period. Once you are signed up for the class, you will receive a link to a Nearpod Presentation that has links to all the online activities. You will also receive a detective case file, that will serve as your notes as you record your discoveries through the mystery. Finally, I will provide you with a course cheat sheet and a list of resources in case you need help through the various activities.
Week 1: The Scene Of the Crime
The student will learn, not only about the plot of “Romeo and Juliet,” but also the way real detectives and forensic scientists follow clues and try to solve crimes, in this case, an apparent death by poisoning.
Activity 1: Poison Analysis
In a pre-recorded video, The Investigator introduces himself. He is in the middle of doing a toxicology test on the vial found near Juliet’s bed. He explains that most poisons are either highly acidic or highly alkali (aka, bases). Testing the liquid’s PH will help you determine if the substance is poisonous or not. In a short simulation via Nearpod, you will test multiple liquids for acidity or alkalinity. You’ll even learn how to test substances in your own home for acidity and for alkaline properties!
Week 2: Crime Scene Investigation
Crime Scene Analysis, Romeo and Juliet Style
Using the Nearpod slides and a linked website, you’ll figure out what happened to Juliet’s cousin Tybalt the day before her own mysterious death.
Activity 3: Unlock Juliet’s Computer
Using Shakespeare’s text, you will decode a secret password to unlock Juliet’s website (Google Sites). Using Juliet’s (fake) Twitter account, you will read her account of the events of the play thus far. Each tweet is paraphrased from a line of Shakespearean dialogue. Once you’ve read the fake tweets, you can play a game where you match them with the real Shakespearean dialogue.
Activity 4: Fingerprint Analysis
Fingerprint Analysis experiment
You will ‘scan’ a fingerprint found on the vial found in Juliet’s bed. The website will tell you who it’s from and you will record it in your case file. You’ll also learn how to take your own fingerprints, and the characteristics real detectives look for when analyzing them.
Week 4: Construct a Timeline/ Make the Arrest:
Using your case file, you will write the sequence of events thus far in your case file and write down information about the suspects (the characters in the play), in the format of a police dossier.
The activities will enrich the student(s)’ understanding of the plot and characters of “Romeo and Juliet” using the format of a murder mystery In addition, the students will learn the methods practiced by detectives, investigators, and forensic scientists when they solve real crimes including toxicology, fingerprint analysis, CSI, and interrogation techniques.
LupercalPatterson Joseph in “Julius Caesar”CoriolanusAntony and Cleopatra
In honor of “The Ides Of March” and Women’s History Month, I’ve planned a series of posts, podcasts, activities, and videos all related to “Julius Caesar” and Shakespeare’s female characters. Here’s a preview:
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.
Name: Kill Shakespeare (Vol. 4) by Connor McCreery and Anthony Del Col
Ages: Adult/ Teen. There’s some PG-13 language and a lot of fighting and gore, so it’s not really for kids
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. Many others, (as the title implies), want him dead. A faction of outlaw heroes who call themselves The Prodigals are trying to protect Shakespeare, including Juliet and Hamlet, but in this volume, they’ll have to face raging seas, bloodthirsty pirates, and the mind-altering effects of the island in Volume 3, which has pushed them all to near-madness.
   My reaction: Volumes 1&2 was framed like a civil war between the heroes and villains of the Shakespeare canon- basically an Infinity War for Shakespeare nerds. This volume is in the context of a high-seas pirate adventure. It has a lot of cool fights and the drama between Cesario and Viola is great, but honestly, I thought it was poorly paced. Maybe it’s my personal taste, but it’s hard to keep myself invested in the story when everyone is stuck on a boat.
Basic Details:
As I said in my review of Volume 2, 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:
Most of the drama of the graphic novel centers around Captain Cesario, a dashing rogue pirate, and his first mate/ girlfriend Viola. The main characters from Volume 2, (Shakespeare, Hamlet, Juliet, and Othello), have escaped the effects of the island run by the mad wizard Prospero, but are still shell-shocked at feeling the terrifying psychic effects of that island. This is a clever plot device that basically makes it makes all the characters unnecessary except for Hamlet and Juliet. You could look at this installment as the story of 2 couples, (dare I say twin couples) where Viola and Cesario are fighting over whether or not to join Shakespeare and the other Prodigals, to remain on the high sea as pirates, or to betray them and become ingratiated with the fearsome cannibal-pirate Lucius Andronicus.
I won’t give too much away (there are some spoilers), but let’s just say that the relationships in Volume 2 have been tested to the breaking point; Hamlet and Juliet are having extreme problems, (almost as bad as Hamlet and Ophelia). Viola and Cesario are also fighting constantly. In addition, the ship is constantly under threat from the feared pirate Lucius Andronicus. Will the characters solve their internal conflicts before a mutiny breaks out? Or will they all be cut to pieces by the cannibal Lucius? On this boat, tempests are not kind, and salt waves are fresh with DEATH!
Shakespeare Easter Eggs
Kill Shakespeare, Volume 4 is largely based on Shakespeare’s Twelfth Night, which, although it mainly focuses on the courts of Duke Orsino and Countess Olivia, does have aspects of pirates, deception, and lovers quarreling. It is interesting (and I give the writers credit) for taking a light-hearted comedy with songs and dances and turning it into a swashbuckling pirate adventure; that takes real imagination, yet it works with the text; the first time we see Viola she is shipwrecked and the captain that saves her life is arrested offstage. This prompts Viola to disguise herself by wearing her twin brothers’ clothes and donning the non-de-plume Cesario, in order to freely behave like a man in a man’s world. Shakespeare already made Viola’s fate intertwined with the sea, so it makes sense that she might want to be a pirate. Kill Shakespeare takes Viola’s two identities and makes them two separate people, both intertwined with a love of the sea.
The graphic novel also conflates and expands other pirate characters from the play; there’s another captain in the play named Antonio who saves Viola’s brother Sebastian, and is accused of being a pirate, While Viola in Twelfth Night is a noblewoman who out of necessity disguises herself as a man and becomes a servant to a Duke, Viola in this version is trying to escape being a noblewoman and becomes a pirate by choice. Meanwhile, Antonio, who denies being a pirate, is changed into the roguish Cesario, who loves Viola as much as Antonio loves her brother Sebastian in the play. Like Antonio, Cesario cares about Viola’s well-being and is willing to sacrifice everything to keep her safe, even being a pirate. This causes friction between the two since again, Viola wants to continue to be a pirate and would rather die than give it up. Their conflicting roles as shipmates and soulmates keep them at odds during the play, sort of like how Cesario’s mask is split down the middle; half tragic, and half comic.
Critique
I think this graphic novel is poorly paced. Most of the first half consists of Cesario and Viola arguing about what to do with Shakespeare and the rest of the Prodigals. Their drama is good, but it supersedes everybody else, and I found myself wondering what was going to happen to Shakespeare and the rest, and wishing that they’d got more focus. Othello is reduced to a plot device because he is madly searching for Desdemona, whom he killed during the events of Shakespeare’s play. Othello is no longer the honest, loyal friend to Juliet that he was in the previous editions; now he’s more like The Incredible Hulk, filled with animalistic rage and unable to be controlled except by the love of his friend Juliet. In some ways, Othello was the most likable character in the previous volumes so I hated to see him like this.
In addition, the constant couples’ bickering gets a little bit tedious; I suppose that’s inevitable when you take all the comic elements out of Twelfth Night, (Sir Toby and Feste are back in Volume One, and Malvolio, Fabian, and Olivia are nowhere to be seen). I did enjoy the ending where Viola resolves her conflict with Cesario much the same way Viola solves the problem of her being Cesario in the play. I also like the way that they built up the antagonist Lucius from Titus Andronicus. Lucius is a good choice for a villain in this world because he’s seen some truly horrible things in his own play like his father mutilating people, his brothers and sister murdered, and the worst pie recipe of all time. Making Lucius a bloodthirsty, cannibalistic pirate is a great choice. Still I wish they spent more time fighting with him instead of sailing away from him. In short, the characters are compelling as ever but the action is lagging and the drama is reduced to mostly petty couple squabbling. I would like to see this series pick up in a more action-packed version more in keeping with a graphic novel.
Recommendation: I’d recommend this book to all mature fans of Shakespeare, anime, Manga, D&D, or any kind of nerd stuff!
In this virtual version of my popular “Macbeth” course, you will engage with William Shakespeare himself and learn about his play in a fun, spooky, and interactive way!
Unlike my previous “Macbeth” course, all teacher interactions will be done through the use of pre-recorded video. Through a combination of multimedia lectures, online games, and a digital escape room, students will delve into the plot, characters, and themes of “Macbeth.” The class is designed to be interactive, fun, smart, and spooky.
Class organization
The class is organized into five parts using a combination of Nearpod, online games, videos, and a digital escape room.
Part I: The Plot of “Macbeth”
You will play a video where William Shakespeare (played by me), will introduce the plot, characters, and literary terms in the play, “Macbeth,” The video will feature graphics, video, and recordings that will explain the plot and who the characters are, and their significance to the plot. Shakespeare will also take time to define a series of vocabulary terms like “soliloquy” and “tragic flaw,” terms that explain his unique writing style and how he constructed his tragedies. After the video, students will participate in a group quiz via Nearpod. The quiz will cover the vocabulary words the students just learned, as well as the characters. and see their scores that will show how well they applied their knowledge from Part I.
Part Two: Jacobean England
Students will learn via Nearpod and Youtube about the English King James I, the monarch for whom Shakespeare wrote “Macbeth.” First, the students will read 1-3 slides with some historical details about the king. Then the students will watch a funny parody song about the life of the Stuart monarchs and answer questions about King James’ life. The section will conclude with slides and a virtual tour of Parliament about the infamous Gunpowder Plot, where an assassin tried to blow up the English government!
Part THree: The Curse Of Macbeth
Using Nearpod, students will delve into the tragic history of the persecution of witches, which Shakespeare incorporated into “Macbeth.” The students will then read an article about the characters of the witches and answer open-ended questions on Nearpod. Next, the students will read an article about the alleged ‘Curse of Macbeth,’ and learn about the long-standing theater superstition. The class will conclude with an online game via Scratch, where you play as Macbeth and deliver the famous Dagger Speech before going to kill the king.
Part Four: Acting Shakespeare
I contemplate murder in Act I, scene vii.
As you know, I’ve played Macbeth professionally and have written articles about the experience. Using Nearpod slides, online articles, and a Youtube video of Sir Ian McKellen, students will deconstruct the process of creating a Shakespearean character, and how actors make famous speeches fresh and alive.
Part Five: Digital Escape Room
Part V: The Digital Escape Room (Spoiler Free Version)
In a combination video/ website, Shakespeare will direct the students to a digital Escape Room, a game where students pretend that the witches from Macbeth have trapped them and Shakespeare in a cursed castle, and the only way to get out is to finish a series of puzzles that cover the characters and vocabulary they learned. The Escape Room will include word searches, decoding ciphers, a sinister forest, and a clever interpretation of the famous dagger speech. The video is designed so Shakespeare allows you to solve the problems independently, or with him guiding you through them. Each puzzle you solve, you enter in a Google Form, getting you one step closer to escaping the cursed castle.
I love the BBC Kids show “Horrible Histories,” based on the books by Terry Deary (who also appears in the show). The show is a Monty-Python like variety show that jumps from various periods in English history, (primarily), while highlighting the “gory, ghastly, mean and cruel,” elements of history that our teachers tend to gloss over.
One period of history in which the show excels at satirizing is the Tudor period; devoting several songs, sketches, and animations to the reigns of Mary I, Good Queen Bess, and of course, Henry VIII. Here are some of my favorite clips from the series, with Ben Willbond as Henry VIII:
It’s November, the month when we Americans ponder perilous journeys to new worlds and give thanks to the people who settled our country. As this clip from “Shakespeare In Love” illustrates, Shakespeare clearly had these kinds of journeys on his mind. They influenced plays like “Twelfth Night,” “The Comedy Of Errors,” and especially “The Tempest.” It’s not surprising that long journeys to America were on Shakespeare’s mind; he lived right at the time of the first settlements in America, and the Pilgrims celebrated the first Thanksgiving only four years after Shakespeare died:
However, as I said in my “Is Shakespeare Being Cancelled?” post, the people who colonized America were hardly saints and they did impose their own culture on the indigenous people that lived there. This tension between the romantic ideal of taming the unspoiled wilderness of America and the reality of colonization is deep within Shakespeare’s last solo play. Its hero is a magician with the power to control spirits and who enslaves the only creature living on the island before he came- Caliban.
Though Prospero did not come to the island by choice, he certainly imposes his will on the creatures and spirits of the island and even calls himself the lord of it. On the other hand, he eventually leaves, pardons Caliban, sets Ariel free and resumes his former life as the Duke of Milan, so the story isn’t entirely about colonization. At its core, The Tempest is a story about revenge, savagery, and redemption. Audiences back in 1611 would probably see Caliban as a savage with his rough manner, bizarre appearance, and peculiar religious beliefs. But the real savage is Prospero, who like Dr. Frankenstein, gives in to his baser desires for control and revenge; enslaving Caliban, and conjuring the Tempest to take his revenge on his brother Antonio. But Prospero eventually repents and abandons his quest for revenge and this decision improves everyone’s lives, especially his own. He can now move on and become a better duke and a better man.
This play is fascinating to ponder and it has spawned countless re-interpretations. As I said before, this journey to a strange new world has influenced both the Horror and Science Fiction genres. The themes and characters of The Tempest can be found in works such as Frankenstein, to Brave New World, to Star Trek, which is why this month, I will be not only analyzing The Tempest, but also the Shakespearean roots of one of my favorite TV shows- Star Trek: The Next Generation!
If you are your child are interested in learning more about this fascinating play, I actually teach a class about it as part of my course on Shakespeare’s Comedies which starts November 5th at 4PM, EST. Below is a trailer and link:
Today I’ll be tracing the recurring themes and motifs that evolved from Shakespeare’s last solo play, “The Tempest,” and chart a course that explains the evolution of this play into the beloved Star Trek franchise.
Shakespeare’s The Tempest is based on a real story. As I said before, the story might have come from a traveler’s story about visiting the island of Bermuda in the early 1600s. The idea of Europeans going to an uncharted island, meeting the strange inhabitants, and ‘civilizing’ them, might have inspired Shakespeare to write the story of Prospero.
In addition to the Bermuda story, the age of English colonization had firmly begun at this time. The first English colony in America, Jamestown was settled in 1607, and The Tempest came out 1611.
At the same time, The King was worried about magic and trying to marry his daughter off to a prince.
Shakespeare wasn’t allowed to comment on contemporary issues, so instead of setting the play in England or even contemporary Europe, he set it on a fantastical island with spirits Prospero can control. His control becomes a metaphor for colonization. At the same time, we see a fantasy version of James’ daughter’s marriage in the romance between Ferdinand and Miranda. The motifs of discovering strange new worlds and encountering new races of people form the core of Star Trek and space-based science fiction in general, and an adaptation of The Tempest in the 1950s would set the template that the Enterprise and her crew would be built on.
“Forbidden planet”- The Tempest goes Sci-Fi
Forbidden Planet is a story about a dashing, adventurous captain, a curmudgeonly doctor, and a science officer who are from a United group of planets that peacefully searches for “brave new worlds,” and the people in them. Obviously, these characters are very similar to Captain Kirk, Dr. McCoy, and Mr. Spok, so clearly Star Trek owes its initial creation to the success of Forbidden Planet, which was a Sci-fi adaptation of the Tempest. The question then is if there is there more that we can say about the connection between Shakespeare and Star Trek.
Star Trek’s relationship with Shakespeare
The main connective tissue of Star Trek and The Tempest is the use of exotic locations and alien cultures to explore issues that were close to home. When people in 1600 went to see Hamlet Prince of Denmark they didn’t see an ancient legend of a Viking Prince as the original Amleth, written by Saxo Grammaticus; what they saw was a thoroughly modern story of a Renaissance Prince tackling theological issues that had only just been dreamt of by the English protestants; issues of predestination, issues of Calvinism, issues of the questions about the issue the existence of purgatory, etc. That would have been unheard of to the original audience of Prince Hamlet. The appeal was seeing a different place and time to retell an ancient legend that at the same time spoke to the present time of the 17th century. Star Trek does the same thing only looking to the future instead of the past.
Like Star Trek, Shakespeare used exotic locations to examine issues that were universal, (no pun intended), issues that were very much for the consumption of his audience. Look at Star Trek; every alien race the Enterprise encounters is an allegory for some culture or idea on Earth, like the two-toned alien Lokai and Bele that represent segregation and racism, or the Klingons who represented the Soviet Union, or the Borg, who represent imperialism and authoritarianism, cults, and to a certain extent fascism,
In Star Trek, space-age technology was always secondary to character; it was always about fragmenting the human condition into different recognizable alien species. Through the characters of Dr. McCoy, Captain Kir, and Mr. Spok, Star Trek examines humanity through 3 distinct points of view; that of Kirk the wide-eyed Explorer, McCoy, the cynical doctor with a heart of gold, and the cold and logical Mr. Spock. As the series went on, the allegories to contemporary affairs grew more nuanced, like how in Star Trek 6, the conflict between the Federation and the Klingons represents the final days of the Soviet Union, and the fear on both sides of what a post-Cold War world would be like.
Star Trek The Next Generation: The Tempest, Reformed.
Why did the creators of Star Trek cast Patrick Stewart, the foremost Shakespearean actor of his time, to play the captain of the Enterprise? I would say it is because Shakespeare is a writer who follows some of the same tropes that Star Trek would later use, so the creators needed a Shakespearean actor to communicate these ideas to the audience.
When Star Trek: The Next Generation first came out in the mid-1980s; the lens through which we saw alien cultures changed significantly: Picard sees humanity and the universe through a sentimental lens; viewing all cultures with no concept of superiority or paternalism. Like Shakespeare, Picard sees these cultures as his own and all worthy of respect. That’s why these cultures are often drawn to him and embrace him as one of their own, such as in the episode where he literally lives the life of a man named Kamin on the now-dead planet of Katan, and becomes the only living man to pass on their stories:
Picard’s greatest antagonist Q is a warped mirror of Picard; somebody who sees humanity as a plaything but nonetheless is intrigued and fascinated by human nature:
Taken together, Picard and Q are like the two sides of Shakespeare’s Prospero in The Tempest. Simmilar to how Dr. Morbius represents Prospero’s ego in Forbidden Planet, Picard represents the superego- the part devoted to improving the lives of his crew and the aliens he helps, and who looks at each “brave new world,” he encounters with awe and respect.
Q however, is Prospero’s Id- a malevolent, cynical, vengeful man, (who like Prospero in the episode Deja Q, is actually banished from his rightful place in the Q Continuum). He torments and enslaves creatures for his own amusement and his curiosity about humanity is more morbid and sadistic than scientific or philosophical. With this in mind, it makes sense that Q has been such an enduring part of the Star Trek series since he is an essential component of the series’ psychological makeup.
Science fiction in general is about possibilities- looking at where we came from and where we are and asking questions about where we are going. Generally speaking, Shakespeare looked more to the past than the future, but his conclusions were pretty much the same- he saw “What a piece of work man is,” but also feared greatly for his survival. Star Trek takes these concepts and projects them out to the far future. Even though in the 24rth century humans have mastered space travel, eliminated poverty, and put aside petty prejudice, people are still people and the conflicts they have don’t change. What’s great about Star Trek is how well both choose to tell the eternal story of the human condition, looking before and after and making some truly profound discourse on what it means to be human. Perhaps the real final frontier is the same as the first- the human heart.
The Shakespearean Student 