Review: “Star Wars-  the Jedi Doth Return .” by Ian Doescher

Introduction

What Is William Shakespeare’s Star Wars?

William Shakespeare’s Star Wars is a series of parody plays written by Ian Doescher that takes the prose screenplays of the Star Wars story and transforms them into Elizabethan verse. Last time I mentioned how much I loved the cheeky references to Shakespeare and Star Wars, and how Doescher adapts the cinematic quality into Elizabethan drama very well. In my podcast, I also emphasized the way Doescher gives each character verbose Shakespearean language that works very well for radio and theater:

My podcast episode where I do dramatic readings of “Verily A New Hope.”

I must confess, Return of the Jedi is my favorite Star Wars movie. I’ve seen all 9 films and it’s still my favorite. I adore the effects, the tight storytelling, the emotional farewells, and the dramatic victories. What I want to do with this post, (and the accompanying podcast), is to see whether this edition captures what I love about Jedi. The short answer is- no. It doesn’t capture it, IT EXPANDS IT! In many ways this play is Doescher’s triumph- he manages to capture the tone and characters of Star Wars perfectly, and makes the Shakespearean style his own!

Notes about the play

  1. The first play in the series, Verily, A New Hope,” took plot and structure inspiration from Henry V; it tells the story as an epic heroic story of Luke’s heroic deeds, much like how Henry V is about a king who grows from boy to man.
  2. The second play “The Empire Striketh Back,” takes inspiration from Hamlet and Macbeth to explore Luke’s temptation by the Dark Side of the Force. It also uses Much Ado About Nothing as an inspiration for the burgeoning relationship between Han and Leia
  3. I would argue that “Jedi Doth Return” is a mixture of all the other plays Doescher took inspiration from. Unlike the previous plays, this feels less like a parody, and more like an adaptation. I feel that Doescher has finally become so comfortable writing in the Shakespearean style, that he rarely needs to flat out parody lines and speeches, and simply uses Shakespearean dialogue to tell the story.

Moments to Watch for:

The Language

I’ll discuss the language of Jedi in greater detail in my podcast, but I’d like to highlight one or two here.

Extended metaphors:


Vader: It is the role I play, my destiny—
The grand performance for which I am made.
Come, author of the dark side of the Force,
Make me the servant of thy quill and write
The tale wherein my son and I are seal’d As one.
Come, take mine ev’ry doubt from me,
And fashion from my heart of flesh and wires
A perfect actor: callous, cold, and harsh.
Let this, the second Death Star, be the stage,
And all the galaxy be setting to
The greatest moment of my narrative:

The scene in which the Empire’s fight is won
Whilst I decide the Fate of mine own son
- The Jedi Doth Return Act I, Scene i

3. Parody Lines

The biggest appeal of William Shakespeare’s Star Wars is the fact that it is a parody, and I’ve said for many years that parody and gentle riffing on Shakespeare is a great way to get students to overcome their fear of Shakespeare and engage with him. Students who know Star Wars but don’t know Shakespeare will recognize the familiar characters and plots of the movies and then see how Shakespeare’s language tells the story anew. Similarly, people who know Shakespeare will recognize the way Doescher re-tools famous Shakespeare quotes to give to characters in the Star Wars Universe, like here, where he spoofs the famous “All the World’s A Stage” speech:

In the Educator’s guide, which I’ve attached below, Doescher tells you exactly which lines he has parodied and the plots of the original plays so the students can learn about Shakespeare through these famous speeches. Orson Wells once said: “We sit through Shakespeare to recognize the quotations,” and this edition gives us thrilling space battle, wonderful characters, and witty dialogue to keep us entertained while we wait.

Characterizations

What I love the most about the movie and the play is that it’s a very character-driven story. Instead of long trench runs with pilots we’ve never met, we get duels to the death between characters we’ve known for years. At its heart, Jedi is the story of the Skywalker family reuniting after Darth Vader ripped it apart. It’s also the culmination of Luke growing from a boy to a man. Doescher does an incredible job voicing these characters through the verse, and his use of the language helps highlight each character’s struggle and journey.

Luke/ Vader

Left- production photo of Mark Hamil holding a skull Yorrick-style. Right- AI art I created of Luke as Hamlet.

Luke has more of a duality in this story- sometimes his speeches are hopeful, positive, and full of decisive language, while other times he is bitter, angry, and mournful. This is a perfect characterization for a young man whom the Emperor hopes to turn to the Dark Side, and these speeches excellently bring out his character. Sometimes Luke even repeats lines spoken by Vader and the Emperor just to drive this point home.

Emperor

A speech from “Jedi Doth Return.” Notice how the ideas run on past the ends of lines and how long each sentence is

As for Emperor Palpatine, his speech is similar to Claudius in Hamlet in the sense that he has many run-on lines that only get to the point at the very end. This man knows he has the ea of the entire galaxy, so he can afford to make people wait for him to finish talking. As Luke himself says: “Your overconfidence is your weakness,” and Doescher does a great job conveying that weakness through the language.

Leia/ Han

My favorite part of The Empire Striketh Back was how Doescher conveys the love between Han and Leia. In that play/ movie, it was done through irritating each other in public, and soliloquizing in private. In Jedi, Han and Leia are more of a couple, supporting each other in their fights and the language has more of a romantic tone.

Han (Hal Jourdan) and Leia (Janine Ashley) finally confess their love in this scene.

My Criticism

To sum up, Jedi is a milestone in the William Shakespeare’s Star Wars Series where Ian Doescher learned how to make the language his own, rather than borrowing lines and phrases from Shakespeare. It’s a pity there aren’t more books in this series…. right?

Doescher’s official website.

The Education Guide

Support My podcast

If you enjoyed the accompanying podcast episode to this post, please consider subscribing and donating to help me continue making fun and educational content like this!

Six: Teen Edition

Last weekend I saw a wonderful production of “Six” The Musical at the Cab Calloway School Of the Arts in Wilmington DE. After seeing the professional production, I was worried that I wouldn’t enjoy these student performers but it was incredible! The young performers were all terrific and the director managed to use inventive, creative, and entertaining setpieces to both capture the essence of the Broadway show, and also make a version that is distinct and its own with student performers!

The Direction

DIRECTOR’S NOTE
I thought original I’d never Broadway get a show chance only to has direct six it at actors Cab. in AS the luck cast, would so/
have it, the teen edition came out this past summer, which allows
the addition of a singing and dancing ensemble. I immediately
applied for the rights and we were one of the lucky schools to
get them. This new teen edition is the perfect fit for our school
community and it highlights the talents of studentsfrom every
arts area.
I wanted to create a Beyoncé or Taylor Swift concert-type at-
mosphere, and I think we have achieved that with our show.
The fabulous lighting, the beautiful costumes and make-up, the
rocking pit band, the fabulous cast and crew and especially the
epic choreography have culminated into quite a spectacle! It has
always been a joy to work with my colleagues on these projects.
and I want to give a particular shout-out to my team of choreog-
raphers. They have taken my vision and turned it into something
amazing. The creativity in this team is fierce, and if ever there was
a group that fed off of each other’s ideas, it’s this one. We’ve had
a blast collaborating on this production
Also, I would like to acknowledge Brian Touchette, Peter Kuo and
Jared DeStafney for their tireless work on this production. With-
out them, this show would not be possible.

Marjorie Eldreth

As the director notes in the program, the challenge with doing a musical like “Six” at a high school or community setting is that there are only six major roles, which means it would be hard to find ways for the whole student body to participate. What I loved about this version is that, by utilizing dance, pantomime, and choruses, the director has found ways to not only involve more people, but help use the additional cast to tell the story in ways that the professional touring production I saw earlier didn’t!

My Favorite Moments

Normally I hate dance numbers in musicals. Don’t get me wrong, I admire the skill and athleticism that dancers have, but when I see a play or musical, I come for the story and the songs. Dance always seems like the black sheep in the musical theater trifecta to me. Not so with this production of “Six.” The dance numbers help tell the story in clever and moving ways! For instance, during Anne Boleyn’s “Don’t Lose Your Head,” a team of dancers with green sticks accompanied her. Their movements were cheeky and brash, which helps encapsulate her bubbly yet tart personality. During the choruses, the dancers and Anne rested their hands on the sticks, drawing attention to their heads moving back and forth, which reinforced both the title, and Anne’s air-headedness. Then, at the end of the number, the dancers got into a circle and pointed their sticks at Anne’s neck- pantomiming how she would eventually be beheaded! Thus, the dancers complimented Anne’s song perfectly, in a way that was not originally part of the show!

“My Heart Of Stone”

The most moving moment of dance was during Jane Seymore’s song “My Heart Of Stone.” When I saw this number in Hershey, it was by far my least favorite. I thought the lyrics were generic, that the song itself was bland, and that gave little depth to Jane character. All that changed this time around. While Jane belted her heart out about the son she never got to raise and the husband who mistreated her, we got to see elegant ballet dancers perform those moments for us. I particularly liked that the male dancers had red hair, (much like the real Henry VIII and his son). The dance actually helped me see Jane’s conflicting feelings for Henry- how she feels genuine love and affection one minute, and terror the next. How she and her son are both ghosts, now that they were denied the chance to live together on Earth. I don’t wish to diminish the wonderful singing and acting of the Hershey production, but Six: Teen Edition did a masterful job of showing, in addition to telling Jane’s story.

THe Cast

The Cab Calloway School of the Arts boasts some of the top young actors in the country, and all of them have tremendous chops as actors, dancers, and singers. Some of them already have professional acting credits. So it should come as no surprise that all the performances were incredible. It was very exciting, however to see a real 19-year-old play Catherine Howard, (since that was the real age she was when she died).

This production also took the bold leap of casting two men in the show. In one cast Anne of Cleaves was played by a man, and in the other (the one I watched), Katherine of Aragon was played by a man. I have no problem with this choice, (after all boys have been playing Katherine ever since Shakespeare’s Day), but I was a little disappointed that the actor had to modify the song to fit his range- I was looking forward to the extravagantly high Shakira and Beyonce inspired vocals that I’ve come to expect from the part. Nevertheless, the actor I saw was incredibly talented and his acting and dancing were completely appropriate for the part.

THe Dramaturg

For those of you who don’t know, a dramaturg’s responsibility is to help the actors, director, and production designer by doing research into the play’s historical or political context. It’s a role that is very important in period plays like Shakespeare. I’ve worked as a dramaturg myself and, though the work one does as a dramaturg is mostly unnoticed by the audience, the dramaturg can greatly contribute to the way the actors understand the text and give the director tools and ideas with which to explore themes and ideas present in it. I don’t know what the dramaturg did for this production, but I could tell based on the performances that every cast member was fully committed to their character. Each actor was able to clearly articulate their character’s emotional journey and that meant they must have learned the history and context of the Tudor period. Again, I don’t know if the dramaturg had any effect on this, but I’m going to assume they did a terrific job, because their end goal was accomplished- the actors and director gave a coherent and well thought out performance that captures the spirit of the Tudor period, so great job!

Brava/ Bravo

Close Reading: Viola’s “I Left No Ring With Her” Soliloquy

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!

The Text

VIOLA

I left no ring with her: what means this lady?
Fortune forbid my outside have not charm’d her!
She made good view of me; indeed, so much,
That sure methought her eyes had lost her tongue,
For she did speak in starts distractedly.
She loves me, sure; the cunning of her passion
Invites me in this churlish messenger.
None of my lord’s ring! why, he sent her none.
I am the man: if it be so, as ’tis,
Poor lady, she were better love a dream.
Disguise, I see, thou art a wickedness,
Wherein the pregnant enemy does much.
How easy is it for the proper-false
In women’s waxen hearts to set their forms!
Alas, our frailty is the cause, not we!
For such as we are made of, such we be.
How will this fadge? my master loves her dearly;
And I, poor monster, fond as much on him;
And she, mistaken, seems to dote on me.
What will become of this? As I am man,
My state is desperate for my master’s love;
As I am woman,–now alas the day!–
What thriftless sighs shall poor Olivia breathe!
O time! thou must untangle this, not I;
It is too hard a knot for me to untie!

Exit

Twelfth Night, Act II, Scene ii, lines 648-672.

The Given Circumstances

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. 

https://www.theguardian.com/stage/2021/aug/08/twelfth-night-review-shakespeares-globe-theatre

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.

Verse

First Folio Reprint from The Boldlien Library.
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:

Resources:

Illustrations

Book Review: William Shakespeare and the Globe

Video Book Review:

Content: 

This is a story of two boys, centuries apart, but united by their love of theater in general, and the Globe Theater in particular. The first is William Shakespeare, whose story Aliki tells from his birth, to his boyhood days, to his rise to prominence in the theater. The second is Sam Wannamaker, the man who spearheaded the project of re-building the Globe Theater from 1949 to the first performance of the Globe in June of 1997. 

Aliki tells this story in the format of an Elizabethan play, dividing it into five acts. Acts I-4 tell the story of Shakespeare’s life while Act V focuses on Sam Wannamaker pursuing his dream. The book concludes with a chronology of Shakespeare’s plays, and a table of his most famous words and expressions, illustrated with adorable characters.

Illustrations: Medium and Style of Illustration

Like many of her books, Aliki’s illustrations are layered and detailed. She uses ink pen outlines to draw her characters, but then fills them in with bright, vibrant colors. She then painstakingly shades them using the crosshatching technique, to create textures that are complex but have a hand-drawn almost impressionistic feel. The characters aren’t ultra-realistic, and the color palette is limited mainly to bright primaries and warm browns, making it look like a child’s box of crayons or colored pencils. This book is designed to appeal to children with its hand-drawn quality. 

Format:

Cover- The cover makes the subject of the book clear to the audience. We see Shakespeare and Globe Theater, but also illustrated moments from his plays. This helps establish that this is not only a biography, it is an introduction to Shakespeare’s plays and poems as well.

Front Matter: The book opens with four pages of quotes from Shakespeare’s plays illustrated with fairies, pipers, and Elizabethan men and women. There is no half-title, no frontispiece and no Half title verso.

Title page verso (copyright page) In the center of the copyright page is an Illustration of Shakespeare standing atop a globe, over the famous lines: “All the world’s a stage, and all the men and women merely players.”  Below the quote in very small letters is the copyright date, a short summary, the ISBN data, card catalog information, and the typography information.

Title Page The title is laid out on a white background with a thin black border. Below the title is an image of a boy (presumably Sam Wanamaker), assembling a paper model of Shakespeare’s globe, with a portrait of Shakespeare in the background. This helps establish that this biography focuses on both Shakespeare and Wanamaker, and makes the reader excited to see the real Globe brought to life in full illustration.

Table of Contents As stated before, the book is organized like an Elizabethan play, so rather than Chapter 1, etc. the book has five Acts with 1-4 scenes in them. Each chapter in the table of contents is labeled with a description that sets the scene; either a location (like London, Stratford, The Globe), or what will happen in the scene (such as “Building” or “Uncovering”). The table then details four appendices that are part of the back matter. 

Preface:  The Preface is referred in the book as an aside, (an Elizabethan theater term meaning something spoken between a character and the audience). This preface acknowledges that, because of the lack of surviving historical information on William Shakespeare, Aliki, like many Shakespearean biographers, has to use some guesswork to fill out the narrative of his life. A second preface (referred to as a Prologue), introduces the story of the book, (namely the lives of Will Shakespeare and Sam Wanamaker). This preface mimics how in Shakespeare’s plays, a prologue would tell the audience what would happen before the narrative started.

Back Matter/ Appendices: There are four appendices in the back matter- A table of Shakespeare’s collected works, a timeline of the book’s events from 1564-1999,  an illustrated list of Shakespearean words and expressions, and finally a list of Shakespearean sites to visit in London and Shakespeare’s home town of Stratford Upon Avon. These appendices show the reader that Shakespeare has an important role in history and in the English language, and encourage the reader to learn more about him. 

Value As an Educational Tool

This story not only tells Shakespeare’s life, it also introduces the reader to his plays and his influence on the English language through the illustrations and frequent Shakespearean quotations. The reader also gains an insight into Elizabethan life and culture by following Will’s journey from Stratford to London. Finally, by juxtaposing Shakespeare’s life with Sam Wannamaker’s, the reader sees Shakespeare through Sam’s eyes as he works his whole life to restore Shakespeare’s Globe to its former glory. The reader develops a love of Shakespeare, (or at least an empathetic respect), and may feel empowered to read more about Shakespeare, see his plays or maybe even become a Shakespearean artist in the future. In short, Aliki’s book brings the world of Shakespeare to young readers in a way that is beautiful to look at, full of insight, and with enough supplemental materials to encourage them to learn more.

Overall Impression:

Like Prospero’s magic in The Tempest, this story is magically told- it is not intended to create a totally realistic representation of Elizabethan life, but to give an exciting, colorful impression of Will’s life and work to the reader. Due to the scant historical details of Will’s life, Aliki chose not to do a standard biography, but, like Shakespeare’s own history plays, to tell a historically authentic story, rooted in truth that brings a time and a place to life, while portraying it an exciting and visually appealing way.

Citation:

Aliki. (2000). William Shakespeare & the Globe. HarperCollins Publishers. 

Review: “Star Wars-  the Empire Striketh Back.” by Ian Doescher

As I was writing William Shakespeare’s The Empire Striketh Back, I was surprised to realize I had made more references to Shakespeare’s Much Ado About Nothing than any other play. Much Ado is a comedy—probably my favorite of Shakespeare’s comedies—so it was strange that lines from it kept popping up in the darkest of the original Star Wars® trilogy.

Ian Doescher, https://iandoescher.com/

Introduction

What Is William Shakespeare’s Star Wars?

William Shakespeare’s Star Wars is a series of parody plays written by Ian Doescher that takes the prose screenplays of the Star Wars story and transforms them into Elizabethan verse. Last time I mentioned how much I loved the cheeky references to Shakespeare and Star Wars, and how Doescher adapts the cinematic quality into Elizabethan drama very well. In my podcast, I also emphasized the way Doescher gives each character verbose Shakespearan language that works very well for radio and theater:

My podcast episode where I do dramatic readings of “Verily A New Hope.”

What I want to do with this post, (and the accompanying podcast), is to see whether this edition captures the fun, the clever wordplay, and the Shakespearean storytelling of “A New Hope,” with the second installment of the series, and if it helps to capture the shift in tone between the two movies, as Luke is tempted by the dark side and Han is betrayed and frozen by Lando.

Notes about the play

  1. The first play in the series, Verily, A New Hope,” took plot and structure inspiration from Henry V; it tells the story as an epic heroic story of Luke’s heroic deeds, much like how Henry V is about a king who grows from boy to man.
  2. By the playwright’s own admission, the dialogue is stuffed with lots of re-purposed quotes from Much Ado About Nothing, Shakespeare’s comedy of a womanizing, self-centered soldier who becomes a devoted husband. This is appropriate since the Leia/ Han plot within the play and movie starts out with them bickering like Beatrice and Benedick. Doescher says this was an accident, but I think he might have subconsciously taken inspiration from their love affair to help structure the dialogue. In the accompanying podcast episode, I talk more about how the use of Much Ado quotes helped to flesh out the characters of Luke, Leia, and especially Han.

Structure

Movies and plays follow a similar structure where the action starts at a static place, tension rises, and finally, things get resolved at the end. A lot of the same elements are in both issues. The main difference is how they are arranged. Let’s see how Doescher translated the three-act structure of a screenplay, to the five-act structure of an Elizabethan tragedy.

As you can see, films have a 3 act structure

Elements to Watch for:

  1. The Language
    1. Choruses
    • A Chorus is a short speech where a character who is not part of the action of the play introduces the plot.  It functions the same way as the famous title crawl at the beginning of Star Wars.
  1. I mentioned last time that “Verily: A New Hope” uses choruses liberally, which is appropriate because the tone of this story is so much darker, and since the action follows the journeys of Han and Luke so closely Ian doesn’t use choruses as much. I suspect this is partly because unlike The Empire Strikes Back, A New Hope jumped around more between planets and locations and used wipes and other transitions heavily:

Below is a link to the Royal Shakespeare Company’s Learning Zone, where you can learn about the language of the Henry V chorus.

https://www.rsc.org.uk/shakespeare-learning-zone/henry-v/language/facts#

2. Repeated lines/ Half lines

The literary technique of stichomythia has characters who speak at more or less the same time, using slightly different forms of dialogue. Doescher uses this well as a staging device by having Vader and Luke speak similar lines as Luke plummets down the shaft after losing his lightsaber duel:

These similar lines highlight the connection these two have (no spoilers), and also emphasize that, though the actors might be physically close onstage, their characters are meant to be far apart; they wouldn’t be saying this to each other.

In Romeo and Juliet, there’s an excellent example of stichomythia in Act IV, Scene iv, right after Juliet’s parents and Nurse discovers her, apparently dead. There is a long series of laments by her parents and nurse where they are shocked and horrified at her sudden death:

Lady CapuletAccursed, unhappy, wretched, hateful day! 2702
Most miserable hour that e’er time saw
In lasting labour of his pilgrimage!
But one, poor one, one poor and loving child,
But one thing to rejoice and solace in,
And cruel death hath catch’d it from my sight!
NurseO woe! O woful, woful, woful day!
Most lamentable day, most woful day,
That ever, ever, I did yet behold!2710
O day! O day! O day! O hateful day!
Never was seen so black a day as this:
O woful day, O woful day!
ParisBeguiled, divorced, wronged, spited, slain!
Most detestable death, by thee beguil’d,2715
By cruel cruel thee quite overthrown!
O love! O life! not life, but love in death!
CapuletDespised, distressed, hated, martyr’d, kill’d!
Uncomfortable time, why camest thou now
To murder, murder our solemnity?2720
O child! O child! my soul, and not my child!
Dead art thou! Alack! my child is dead;
And with my child my joys are buried.
Romeo and Juliet, Act IV, Scene v lines 2702-2723.

When I played Friar Laurence and the cast and I rehearsed this scene, the actors playing the Nurse and Juliet’s parents were struck by how similar the lines are and worried that these long passages of laments would get tedious to an audience. I realized by looking at the similar lines, the similar words (especially at the ends of lines), and the fact that Friar Laurence interrupts them at the end, led me to believe that these lines are meant to be spoken AT THE SAME TIME. This creates an effect of organized chaos where the actors seem to be wailing and ranting, but are actually speaking a carefully composed quartet of grief. Thus Doescher cleverly mimics Shakespeare’s use of stichomythia to convey Vader and Luke’s physical distance, and complementary feelings at the same time.

3. Parody Lines

The biggest appeal of William Shakespeare’s Star Wars is the fact that it is a parody, and I’ve said for many years that parody and gentle riffing on Shakespeare is a great way to get students to overcome their fear of Shakespeare and engage with him. Students who know Star Wars but don’t know Shakespeare will recognize the familiar characters and plots of the movies and then see how Shakespeare’s language tells the story anew. Similarly, people who know Shakespeare will recognize the way Doescher re-tools famous Shakespeare quotes to give to characters in the Star Wars Universe, like here, where he spoofs the intentionally bad speech of Snug the Joiner and gives it to the Wampa from Empire Strikes Back:

Peter Keavy as Snug the Joyner in “A Midsummer Night’s Dream,” 2017.

In the Educator’s guide, which I’ve attached below, Doescher tells you exactly which lines he has parodied and the plots of the original plays so the students can learn about Shakespeare through these famous speeches. Orson Wells once said that “We sit through Shakespeare in order to recognize the quotations,” and this edition gives us thrilling space battle, wonderful characters, and witty dialogue to keep us entertained while we wait.

Staged moments

As Doescher worked his way through all nine installments of Star Wars, he continued to expand and experiment with his storytelling. There are a couple of moments in “Empire” that work only onstage such as the aforementioned moment of stichomythia after the lightsaber duel, and the scene in Act II, Scene ii where the Imperial Walkers known as AT-ATs actually speak to each other onstage. Like the French in Henry V, it’s interesting to see the battle from the enemy’s point of view, albeit a highly biased one. I won’t reprint it here for copyright reasons, but I will put this funny sketch in as a placeholder:

My Criticism

Although I loved “Verily, A New Hope,” I feel that Doescher didn’t go far enough to adapt the dialogue in interesting ways and play with the stagecraft of Star Wars to make it more distinct from the film and the first installment. My favorite moment of the play was the Wampa speech which was great because it not only parodies one of my favorite speeches in “A Midsummer Night’s Dream, it also made the Wampa attack tonally distinct from the film- the film is tense and grim, while the Wampa speech is funny and charming. I wish Doescher had embraced the parody and silly tone he shows in this speech and applied it more to the rest of the play; we already know Empire is the darkest installment of the series, but that doesn’t mean it needs to be played like that the whole time.

What I think works best in the film is the romantic comedy between Han and Leia; Doescher does a wonderful job pointing out the parallels between Han and Leia and Benedick and Beatrice which is not only fun, but helps Star Wars fans appreciate the comedy of Much Ado About Nothing even more. This is why I’m glad Doescher took painstaking notes on how he parodied Much Ado and other plays in the guide below:

The Education Guide

Doescher’s official website.

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Graphic Novel Review: The Manga Shakespeare: “A Midsummer Night’s Dream.”

Shakespeare Review

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

  1. Name: The Manga Shakespeare: “A Midsummer Night’s Dream.
  2. Media: Graphic Novel compilation, with accompanying website https://www.mangashakespeare.com/titles/midsummer.html
  3. Ages: Pre Teen- Adult. No violence or explicit imagery, but the visual format might be confusing for younger viewers.
  4. Premise:

   My reaction:

Basic Details:

Sometimes the over-the top nature of manga drawings works well with this play. When Helena is mooning over Demetrius, we can see highlights in her eyes that work very well within the big-eyed, expressive style of Manga. By contrast, some other characters like Oberon are drawn very sharply, making him appear stern and even grim.

Another thing the style of pictures does is to literally illustrate the poetic passages of the For example, when Titania delivers her “These are the forgeries of jealousy,” speech, the images of the text compliment

Critique

Recommendation: This book is a good resource for classrooms exploring the text of

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Grade: 4 Shakespeare globes.