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 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
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
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.
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 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.
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
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.
Please join me and the Shakespeare Online Repertory Company on Discord.com at 1PM. We’ll be reading “The Lion In Winter” by James Goldman, which, you may remember was made into an Oscar-winning film in 1968:
As many of you know, I’ve been in two plays with the Shakespeare Online Rep before, and like the production of “Lear” I did last month, this play is about a king, (the historical King Henry II played by Peter O’Toole), and his three children, who ruins his kingdom through his selfishness and inability to connect with his children. In addition, his wife Elenor De’Aquitaine (Hepburn) is powerful, cunning, and ruthless and will stop at nothing to get power away from Henry. She even manipulates her own children against Henry; John (the infamous king of the Robin Hood Legend), Richard (known later as Richard the Lionheart), and Jeffrey.
The acclaimed TV show “Empire” owes a lot to “King Lear,” but as you can see, it owes a lot more to “The Lion In Winter.” The character Lucius Lyon is much more based on King Henry, with his violent past, his mistresses, and his powerful wife Cookie, who is clearly an African American Elenor De’Aquitaine. Furthermore, the children are even more clearly derived from the three Plantagenet children: Hakeem, the spoiled, foolish philanderer played by Bryshere Gray, definitely has echoes of Kanye West, but Prince John is definitely in his DNA. Similarly, the talented Jamal, who is loved by his mother and hated by his homophobic father could definitely swap stories over dinner with Richard the Lionhearted, (though I doubt Jamal ever went on crusades). And lastly, the emotionally damaged Andre does have some Macbeth-like traits with his vaulting ambition and his brilliant, cunning wife Rhonda. But unlike Macbeth, Andre uses his business-savvy mind and his ability to manipulate his brothers to take power away from his father, which is exactly what Jeffrey does in “The Lion In Winter.”
Will our production be as cool as Empire, or as star-studded as the movie? Honestly, no. But I will say that after working with these actors before on multiple projects, this production should be fun, exciting, and moving, and definitely worth the hearing.
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.
“Upon Such Sacrifices: King Lear and the Binding of Isaac”
I’ve compared King Learto a fairy tale in the past, but i haven’t compared it to a story from the King James Bible, even though Shakespeare, in all likelihood wrote and performed it for James himself. This article form the Jewish Review of Books is a comparison between Lear and the Old Testament Bible. First, the author has a tantalizing historical tidbit that might explain why Shakespeare chose to write Lear for King James:
Before ascending to the English throne, James VI of Scotland wrote a political guide, Basilikon Doron, for his eldest son advising him never to divide his kingdom (as Lear does) but “make your eldest son Isaac, leaving him all your kingdoms.”
The article also draws some fascinating parallels between Lear and other Biblical patriarchs especially the sacrifice of Isaac, which takes place in Genesis 22, or as it’s known in Jewish tradition, the akeda.
The akedah prompts different questions than King Lear does, not of how so much tragedy could have sprung from a foolish love test, but how the God of all creation could have put his faithful servant to such an unconscionable test in the first place. And so there is a long interpretive tradition that labors to elide that fact in increasingly creative ways. Surely God never intended Isaac to be a sacrifice—the boy was merely to be present at the sacrifice! How could Abraham have thought otherwise, when God had already sworn that it was through Isaac that his promise to Abraham would be fulfilled? Or, alternatively, surely Abraham never doubted that God was merely testing him—after all, Abraham tells Isaac himself that God would provide a lamb to substitute!
It’s interesting to see the parallels between Lear and an Old Testament patriarch. He constantly asks his gods for help and swears by them when he pronounces his doom, yet arguably he has no real faith in his gods or his daughters, which is why his foolish love test in Act I, serves as the catalyst that corrodes and destroys his kingdom and his life. However, maybe Lear sees himself this way, as a king appointed by God, with the authority to test his daughters’ love as God tested Abraham. Ian McKellen seems to share this view and sees Lear as a priest who is unwilling to give up his “special relationship with his gods.”
The actor playing Lear can benefit from studying the sort of old-fashioned patriarchs presented in the Bible because they help shape his worldview. In addition, the concept of faith and how it is tested is another big theme in Lear and contrasting how men in the Bible keep their faith while Lear loses it is an illuminating way to contextualize both works. Was Shakespeare trying to write a parable for kings? Perhaps, but he certainly encapsulates very well the struggles and anxieties of keeping power, and the desire for divine intervention when a kingdom bleeds.
Shakespeare’s King Lear is an age old tale. Like Cinderella it has been reinterpreted throughout time and in many different cultures. Here are a few interesting highlights in the old legend and how it got to Shakespeare in the 1600s.
The Princess Who Loved Her Father More Than Salt
This is an old folktale from my favorite podcast, Journey With Story, which starts with the Cordelia/ Lear plot of a foolish king who banishes his honest daughter. Then through extraordinary circumstances it becomes a Cinderella story. I think at some point these two stories were one and the same until they diverged and one became a story about an absent father and a wicked stepmother, while the other became about a wicked father and a dead mother.
The ancient ballad of King Leir, which helped inspire Shakespeare. It serves as a cautionary tale against flattery, and it places equal blame on Lear and his daughters:
And calling to remembrance then His youngest daughters words, That said the duty of a child Was all that love affords: But doubting to repair to her, Whom he had banish'd so, Grew frantick mad; for in his mind He bore the wounds of woe:
Which made him rend his milk-white locks, And tresses from his head, And all with blood bestain his cheeks, With age and honour spread. To hills and woods and watry founts He made his hourly moan, Till hills and woods and sensless things, Did seem to sigh and groan.
Even thus possest with discontents, He passed o're to France, In hopes from fair Cordelia there, To find some gentler chance; Most virtuous dame! which when she heard, Of this her father's grief, As duty bound, she quickly sent Him comfort and relief
The characters of Gloucester and his children, Kent, and the Fool are absent in this ballad, but unlike the fairy tale above, both Lear and Cordelia die in each other’s arms.
The Annonymous History of King Leir, (first published c. 1594)
This play was written for Shakespeare’s rival acting company The Queen’s Men around 1590). Since the Queen was patronizing the company, most of their plays were government-funded propeganda. For instance, it was the Queen’s men who first did a tragedy of the wicked King Richard III.
If you watch the first 20 minutes of the documentary above, you will see that Wood and many other scholars believe Shakespeare must have worked for the Queen’s men, or at least performed their scripts, since they did their own versions of King Lear, Richard III, King John, and Henry V.
However Shakespeare got a hold of The Queen’s Men’s scripts, he didn’t adhere to them rigidly. Their King Lear follows the fairy-tale / history format of having Cordelia be banished, disguise herself as a peasant (like Cap ‘O Rushes in the earlier version), and eventually she is restored to her rightful place. Shakespeare’s version must have been a MASSIVE shock to anyone who read these old tales and ballads. In Shakespeare’s version, everyone dies and there is no guarantee that the kingdom will survive. Every other tragedy ends with a new king or emperor to take over the kingdom but Lear leaves the audience with a sense of apocolypse; that Lear’s madness and Edmund’s machinations have doomed England and all these characters’ lives will be erased by Time.
As pessimistic as Shakespeare’s Lear is, it does seem more true to life than the previous versions. Perhaps this is because of a legal case from 1603 that might have inspired Shakespear to adapt the story: In 1603, two daughters tried to have their father declared insane. By an astonishing coincidence, the third daughter, who protested, happened to be named Cordelia! Perhaps Shakespeare, (who had three children and was preparing to retire), might have been inspired by this case and worried he might suffer the same fate.