This list is not about skill or the talent of the actor. This is to honor the contributions of Shakespearean actors who also appeared in one of my favorite film and book franchises of all time: Harry Potter. Accordingly, some of the actors who weren’t essential to either Harry Potter or Shakespeare or both are placed lower on the list even if I personally love the actor or the character they portrayed.
#10: Richard Harris- Albus Dumbledore
The Irish-born actor has been a veteran of stage and screen for decades before his death in 2002, after the second Harry Potter film. Here is him on Johnny Carson, telling a funny story about a production of Macbeth he did early in his career:
#9: Kenneth Branaugh- Gilderoy Lockheart
If you visit this website regularly, you know I’m a fan of Kenneth Branaugh– I’ve reviewed three of his Shakespeare movies and he’s my all-time favorite Hamlet. I’m also aware that he has a reputation of being a bit of an egotist and a womanizer, (since he had affairs with two women on this list), so even though he was a bit too old to play the part, it was nice to see him have a laugh at his own expense as the attention-hogging Gilderoy Lockheart. The humbug professor’s name actually Gilderoy (as in a man painted with false gold), gives away the twist that he takes credit for other witches and wizards’ work and Branaugh shamelessly mugs to the camera whenever he’s on screen. My favorite scene of his though, is the one serious scene where he teaches dueling with the help of the much more competent Professor Snape:
Kenneth Branaugh and Alan Rickman in Harry Potter and the Chamber of Secrets, (2002).
If you saw my post on the duel at the end of Hamlet, you can see that the way wizards duel is directly inspired by the way fencers fought in Hamlet, right down to the flashy salute and bow beforehand, and it’s neat to see two legendary Hamlets fight in it.
I couldn’t decide between these fabulous actors, so I grouped them together. After seeing Timothy Spall as the cowardly, foolish incompetent spy and traitor Rosencrantz in Hamlet, I knew that the only Harry Potter role for him would be as Lord Voldemort’s toady and pathetic rat, Peter Pettigrew, aka Wormtail.
Broadbent on the other hand, is completely different and unrecognizable during his excellent portrayal of Lord Buckingham in Ian McKellen’s 1995 film version of Shakespeare’s Richard III. Unlike the meek and easily broken Horace Slughorn, Broadbent as Buckingham is an oily politician who very nearly sells his soul to McKellen’s diabolical Richard:
What unites these two portrayals is that both characters are corrupted by a figure of pure evil, but both have a breaking point- Buckingham, (as you see in the clip above), refuses to be a party to child murder, while Slughorn eventually helps Harry Potter destroy Voldemort. In a way, they’re two sides of a very flawed coin.
#7 Michael Gambon (Albus Dumbledore 2)
Like Richard Harris, Michael Gambon, (who passed away in September of 2023) was an accomplished stage and screen actor, famous for playing King Lear multiple times, including a famous performance with Antony Sher at the Royal Shakespeare Company. Here are some highlights of his stage work:
I feel I have to give Fiona Shaw a good spot on this list, though I think her talent was wasted in the role of Petunia Dursley. She is an icon of British theater and her work in Shakespeare is superb. She famously played Richard II back in 1995, and in the short film below, she talks about her amazing interpretation of Measure For Measure, with fellow Harry Potter alumn, David Tennant.
I’d also like to include the best-deleted scene from Deathly Hallows with Shaw in it, where she admits to Harry for the first time that she misses her sister Lilly.
#5: Ralph Fiennes (Lord Voldemort)
In a way, Lord Voldemort was a role that Fiennes had trained for all his life. He has played smarmy, serpentine characters before in films like Red Dragon and Schindler’s List. But Fiennes’ Shakespeare training allowed him to tap into the evil megalomaniac at the heart of Voldemort when he played roles like Richard III, (another deformed autocrat), and Coriolanus, the Roman general who is himself compared to a dragon. In the video above, YouTube critic Kyle Kalgren analyzes how Fiennes’ past roles and experience with Shakespeare translated well in his performance and his direction of the 2011 film Coriolanus.
#4 Imelda Stanton (Delores Umbridge)
By contrast, I give more credit to Imelda Stanton, who mainly plays sweet mom-like characters (or nurse-like in the case of Shakespeare In Love), for embodying the utterly loathsome Delores Umbridge. Reportedly, the role made Stanton feel physically ill and unlike Richard III, people hate her character with a passion. By contrast, look at her sweet and charming portrayal of Maria in the 1996 film Twelfth Night, (which also starred Helena Bonham Carter):
#3 Helena Bonham Carter (Bellatrix Lestrange)/ Emma Thompson (Sybyl Trelawney)
Again, I had to give credit to both of these women for the startling transformations they did for their Harry Potter characters, as well as their stellar work in Shakespeare. Helena Bonham Carter mainly plays apealing aristocratic characters such as Olivia in Twelfth Night, and Ophelia in Hamlet:
Seeing Ms. Carter as the demented Bellatrix Lestrange was quite a shock for me, yet the performance was no less impressive. I especially love this scene in Deathly Hallows where she has to act like a 17 year old girl, TRYING TO BE BELLATRIX LESTRANGE
#2: Alan Rickman (Severus Snape)
I already wrote a tribute to Alan Rickman after his death in 2016, so I don’t wish to repeat myself. Suffice it to say that Mr. Rickman was always a consummate professional, and his iconic portrayal of Severus Snape was the performance of a lifetime.
Alan Rickman as Achilles in Troilus and Cressida, Royal Shakespeare Company.
Honorable Mention: David Tennent (Barty Crouch)
To be honest, I thought Tennant was miscast in Harry Potter- he can play villains, (as Good Omens fans know well), but he just isn’t great at being maniacal and evil. That said, Tennant is a rising Shakespearean star and has created many memorable performances from Richard II, to Benedick in Much Ado About Nothing, to Hamlet.
#1: Dame Maggie Smith (Professor McGonigal)
Say it with me… you probably saw this coming. No one can deny that Dame Maggie’s contributions to Shakespeare, as well as her ubiquitous portrayal of Hogwarts’ current Headmistress Minerva McGonigal, stand the test of time as strongly as the animated chess pieces she placed in the school basement. Let’s look at some of her greatest Shakespearean moments.
Plug for my Acting Class
If you enjoyed this list, you might want to sign up for my Intro to Acting class or my extended acting course, where I delve into Shakespearean acting techniques, and answer the big question, “WHY DO SHAKESPEAREAN ACTORS KEEP GETTING CAST AS WITCHES AND WIZARDS?” To sign up, click the link below: https://outschool.com/classes/609658d1-3f9f-4371-8af2-4fe81ad13d8c
Cover art for my Outschool Beginning Acting Class.
I know I haven’t posted in a while. I’ve been working on my education certification so I’ve been pretty busy. My last project was about using theater as an educational tool, so I thought I’d reprint it here. I’ll add some notes later on to show how this can be adapted to Shakespeare, but for now, hopefully, this can be an interesting look at theater as a way for children to cope with trauma, etc.
INTRODUCTION
Numerous studies from educators, neuroscientists, and nonprofit organizations have demonstrated that children’s brains benefit from the arts. According to David A. Sousa in his book How the Brain Learns, human beings have used art forms as teaching from the very beginning of civilization, and every child’s early development can benefit from the kind of imaginative play that children naturally engage in:
Much of what young children do as play- singing, drawing, dancing…engages all the senses and helps wire the brain for successful learning. When children enter school, these art activities need to be continued and enhanced. The cognitive areas are developed as the child learns songs and rhymes. The dancing and movements during play develop gross motor skills, and the sum of these activities enhances emotional well-being.
(Sousa 215)
One method to continue this kind of artistic learning in a classroom is dramatic play or drama therapy: using theatrical games and techniques as a teaching tool. This paper will demonstrate how educators have used dramatic play to improve socio/emotional learning, as well as cognitive development. In particular, the studies and books cited in this paper will argue that a dramatic play intervention in schools would be beneficial to students who are facing challenges due to emotional disorders.
After reviewing case studies in drama therapy and reading literature on dramatic play, the author of this paper is convinced that a dramatic therapy intervention could and should be available to children with emotional disorders. The goal of the intervention is to help students with emotional disorders through creative play, dramatic exploration, textual analysis, and roleplay-based problem-solving. The suggested intervention would help students confront their problems in a safe way and help them develop problem-solving strategies over the course of a few weeks.
WHAT IS DRAMATIC PLAY?
According to West Governor’s University, dramatic play involves students taking on roles and acting them out to explore themselves and their surroundings. WGU’s website identifies two basic types of dramatic play- structured and unstructured. In the case of structured play, it may take the form of roleplaying scenarios, or performing a specific group activity or task. Finally, the play may center around interpreting a text such as a book, play, or some other artform. The roles the students play need not be a pre-written story. When students take on these roles to play, they may better understand their real-life roles and how to perform them in real life.
In her 2015 article, Analysis of Three Approaches in Dramatherapy, Ivana Lessner Listiakova compares and contrasts three approaches of drama therapy: Role Theory, Psychodrama, and Developmental Transformation. In all three approaches, participants may gain a new understanding of themselves and a healthy way of processing their emotions. Within Role Theory, participants examine Jungian archetypal roles and counter roles within themselves by embodying them. In Psychodrama, participants enact moments from their own lives and have emotional and mental epiphanies by looking at those moments with a critical eye. Finally, in Developmental Transformation, participants arrive at roles and stories organically through a sort of “improvised series of encounters,” rather than a set story that is agreed upon beforehand. Listiakova emphasizes that these approaches work within psychotherapy because rather than the direct uncomfortable confrontations found in traditional therapy, dramatherapy uses the theater’s distance from the client and the metaphorical nature of storytelling to allow clients to see the issues and emotions that they face in their lives in a new light.
HOW DRAMATIC PLAY BENEFITS CHILDREN WITH EMOTIONAL DISORDERS.
A study by Roundabout Dramatherapy in 2013 in the journal Dramatherapy (Godfrey 20-28), demonstrates how drama therapy can specifically benefit developmental disorders like Autistic Spectrum Disorders (ASD). Roundabout is a London-based charity aimed at improving the lives of children on the Autism Spectrum. Through a collaboration with Emma Godfrey, (a psychotherapist and drama therapist), this article chronicled the success of its drama therapy sessions over three primary schools and five secondary schools. Before and after each program of drama therapy, teachers, parents, and students submitted evaluations and questionnaires to Roundabout.
The students showed marked improvement in the following specific areas: [processing}f, working with peers, social skills, structure, and anxiety. Most children on the Autism spectrum struggle with these very skills, therefore this kind of play was incredibly useful for these students. The activities encouraged at Roundabout developed specific life skills such as saying hello and goodbye and relaxation techniques to quell anxiety:
Dramatherapy is particularly appropriate for this client group as it develops social skills and supports the expression of feelings through structured work that helps reduce anxiety. The dramatherapist can model clear, expressive communication, as well as facilitate the development of relationships with others, which gives participants numerous opportunitiesto rehearse and replay social skills until they are learned and integrated into behavior. (Godfrey 21)
Godfrey’s study showed that students with ASD benefited from modeled play, in which the teachers rehearsed and practiced important life skills in class that taught the students how to compensate for their inability to intuit social cues. As this quote from a parent whose child was part of the study illustrates, dramatherapy can help ASD students gain a better understanding of themselves, how to interact with people, and help them develop tools to engage with others and control their anxiety and other forms of emotional stress:
It has really helped him to understand his emotions and friendships more. At times he has found it challenging but it’s been great for him to do that in a safe and caring environment where the people running it understand his issues (Godfrey 25).
The sources cited above confirm that students with emotional disorders can benefit from different forms of dramatic play and develop coping mechanisms and skills to help enrich and improve their lives.
DISCUSSION AND RECOMMENDATION
As the literature previously demonstrates, dramatic play is an excellent educational tool to help students process their emotions and prevent anxiety through role-playing while promoting social, emotional, and physical health. The author’s suggested interventions, like the study by Roundabout, would carefully monitor child development as students engaged in formal and informal activities to help develop social skills, reduce anxiety, and develop emotional coping skills.
A potential format for the intervention would be to start with unstructured drama games designed to engage the children’s imagination, and promote positive emotion. The teacher would then move into a check-in-check-out therapy to guide the students into thinking about their feelings and social situations that the therapy would address. The class could then turn to role-play and role theory, where students would explore sources of stress, anxiety, or difficulty in a safe roleplay-based setting. The session might then conclude with a creative group project such as superhero play, or reading and acting out a storybook or text, (with emphasis on books that promote healthy social and emotional behavior).
The work of Sousa, Godfrey, Hereford, and others indicates that dramatic play can be a powerful method to improve the lives of children with emotional disorders, and their techniques would translate well to children with anxiety, Autism Spectrum Disorders, or depression. The potential intervention described in this paper would use these techniques effectively to benefit children with these and other emotional disorders. Since the onset of COVID-19 in 2020, mental health has been a big concern in schools, and cases of ASD have been increasing over the last few decades (Godfrey 21). There has never been a greater need for mental health interventions in classrooms, and dramatic play is a particularly effective method to help the growing number of children who require intervention.
Godfrey, E., & Haythorne, D. (2013). Benefits of Dramatherapy for Autism Spectrum Disorder: A Qualitative Analysis of Feedback from Parents and Teachers of Clients Attending Roundabout Dramatherapy Sessions in Schools. Dramatherapy, 35(1), 20–28. https://doi.org/10.1080/02630672.2013.773131
Kissinger, K. (2017). Anti-bias education in the early childhood classroom : hand in hand, step by step. Routledge.
This past month, there was a free production of Richard III in New York’s Shakespeare In the Park, starring Danai Gurira as the title character. I have not seen this production, though I wish I had. I enjoyed the actress Ms. Gurrira in such films as “Black Panther,” and would love to see her do Shakespeare. What is more, the concept intrigues me. This project explores themes of toxic masculinity, racial identity, inferiority, and misogyny.
Danai Gurira as Richard III, Shakespeare in the Park, 2024
Unsurprisingly, with so many heady topics in the production, this Richard III is still somewhat controversial. Some right-wing critics dismissed the whole production as a piece of ‘woke propaganda,’ but I feel this is unfair.
When Danai Gurira of Marvel’s “Black Panther” first takes the stage in the title role, the actress has no perceivable hunchback or arm trouble. And yet the dialogue suggesting Richard suffers from a lifelong physical issue (“rudely stamped”) has been kept in. Perhaps we are to use our imaginations. Who knows? We are certainly tempted to close our eyes.
I will not judge this production based on the acting because I haven’t been able to see it. What I will do is take a stance on the validity of the concept. Specifically, I want to ask if this play is a good examination of toxic masculinity and if it would it be worthwhile to see it portrayed by a black woman, as opposed to a white man. The short answer is an emphatical “Yes.”
Richard III is definately an example of toxic masculinity. He is violent, full of hatred, vengeance, and mysogeny. He is constantly insulting women from Lady Anne, Jane Shore, Queen Elizabeth, and even his own mother. In fact, the source of Richard’s toxic attitude is that he blames his mother for his disability and deformity:
Well, say there is no kingdom then for Richard;1635 What other pleasure can the world afford? I'll make my heaven in a lady's lap, And deck my body in gay ornaments, And witch sweet ladies with my words and looks. O miserable thought! and more unlikely1640 Than to accomplish twenty golden crowns! Why, love forswore me in my mother's womb: And, for I should not deal in her soft laws, She did corrupt frail nature with some bribe, To shrink mine arm up like a wither'd shrub;1645 To make an envious mountain on my back, Where sits deformity to mock my body; To shape my legs of an unequal size; To disproportion me in every part, Like to a chaos, or an unlick'd bear-whelp1650 That carries no impression like the dam. And am I then a man to be beloved? O monstrous fault, to harbour such a thought!. 3H6, Act III, Scene i, lines 1635-1653.
Now I should clarify the difference between deformity and disability, which are characteristics that Richard III has as part of his character makeup. According to the Americans With Disabilities Act, a disability is defined as: “A physical or mental impairment that substantially limits one or more major life activities.” This could include paralysis, autism, or any number of congenital or acquired conditions. Richard’s disability is primarily his limp (caused by his unequally shaped limbs), and his withered arm. What’s interesting in this production is that while the title role is played by an able-bodied woman, most of the rest of the cast have actual disabilites. Watch this clip of the famous courtship scene between Richard and Lady Anne, who plays her role in a wheel-chair.
While a disability is a legal term that is recognized by lawyers and governments alike, the term “deformity” is more subjective; it generally refers to any kind of cosmetic imperfection. In Richard III, this applies to Richard’s hump and withered arm.
The Elizabethans thought that deformity was a sign of disfavor from God, and that deformed people were constantly at odds with God and nature, as Francis Bacon puts it in his essay, “On Deformity.”
As deformed people are physically impaired by nature; they, in turn, devoid themselves of ‘natural affection’ by being unmerciful and lacking emotions for others. By doing so, they get their revenge on nature and hence achieve stability.
Richard III has this drive for revenge in spades and I believe it manifests itself as a particularly terrible form of toxic masculinity. Richard definitely wants the crown to make up for his lack of ‘natural affection,’ but he is also especially malevolent towards women.
I, that am rudely stamp’d, and want love’s majesty
To strut before a wanton ambling nymph;
And therefore, since I cannot prove a lover,
To entertain these fair well-spoken days,
I am determined to prove a villain
And hate the idle pleasures of these days
Seeing a woman play this kind of misogynist dialogue forces the audience to take it out of context and question Richard’s point of view. We see casual misogyny every day, and seeing a woman deliver it is quite illuminating.
Richard’s deformity and Blackness
Another provocative choice by Danai Gurira’s portrayal of Richard is the fact that she plays the role of Richard without the hump or withered arm. She herself explains that for her production, Richard’s perceived deformity, is actually represented by her being a black woman:
He’s dealing with the otherness compared to his family, in terms of not being Caucasian and fair like them.” The word ‘fair’, is used a lot in the play.
Danai Gurira’s
Shakespeare writes Richard as constantly striving to compensate for his deformities by being clever, violent, and eventually, by becoming king. As I wrote before in my review of Othello, for centuries black people have been portrayed as inferior; aberrations of the ‘ideal fair-skinned form’. So, to the Elizabethans, blackness itself was a form of deformity, and the rawness of addressing this uncomfortable fact in this production should be commended.
English people are already trained—and we have scholars like Anthony Barthelemy has talked about this in his book Black Face, Maligned Race, where the image of blackness, as associated with sin, with the devil, all of these things, makes it quite easy to map onto then Black people these kinds of characteristics. Then, those kinds of characteristics allow for the argument that these people are fit to be enslaved. – Dr. Ambereen Dadabhoy, Race and Blackness in Elizabethan England Shakespeare Unlimited: Episode 168
So while I can’t speak to the production’s acting or staging, I will emphatically defend the notion that this production’s concept is valid. Richard III is an example of toxic masculinity through his self-hatred, violence, misogyny, and narcissism. In addition, as I’ve written before, in the Early Modern Period, blackness was considered an aberration or deformity, and seeing it in the person of Richard, with the implicit understanding that black people still face this kind of prejudice today, opens a much-needed dialogue that any production of Shakespeare shouldn’t be afraid to open.
In short, by re-contextualizing Richard’s deformity and disabilities, this production gets to the heart of the play’s moral for our times. The early modern period’s toxic attitudes towards deformity and disability created the Renaissance monster of Richard III. We in the 21st century must examine our own societal prejudices and toxic attitudes so this monster does not come to haunt us in real life.
I am just ecstatic to talk about this year’s hit Broadway Musical Six. It swept the Tonys, and has opened up touring productions across the country, and I JUST GOT TO SEE IT!
This vibrant, clever retelling of Tudor her-story was created by TOBY MARLOW & LUCY MOSS in association with the Chicago Shakespeare Festival. The show is incredibly smart, and creative, and delves into the lives of some fascinating women, re-told as a singing contest with the characters singing their lives for you to judge what it was like being the queen of England and living with the turbulent and fickle Henry VIII.
What really appeals to me in this show is that like Hamilton, the musical takes these six semi-mythical women and tells their story in a way that is fresh and exciting. It bridges the gap between Tudor History and the modern-day by equating being a queen with being a celebrity, with all the drama of ambitious parents, romantic drama, public opinion, and even being exploited and sexualized by a male-dominated society. This comes across in the music, the costumes, the lyrics, and even the lighting!
Why “Six” Slaps
The costumes are brilliant and iconic. Catherine Of Aragon is like a cross between Beyonce, a saint, and a medieval knight. The lighting is incredible! You could tell the whole story using the lighting design as it pulsates, dances, changes into different colors, turns into different shapes, and finally flashes the name of the show in triumphant gold letters.
One particularly brilliant way the music works in “Six” is the fact that it uses the song “Greensleeves” as a motif both musically and thematically. One big theme of the show is how, unlike Henry VIII, most of the history of his six queens is lost and replaced by legends and even songs. The first line of the show is the famous rhyme about their fates: “Divorced. Beheaded. Died. Divorced. Beheaded. Survived.” As the video above helps illustrate, Marlowe and Moss know that most people only know the rhyme about their deaths and the myth that Henry wrote a song about one of them; that their lives are overshadowed by their deaths and the misconceptions that people have written over the years. Howard Ho points out how the song musically forces itself into the first number, “Ex Wives,” but by the end of the show, the six queens break free from these musical bars! You can hear the change of key and notes during this performance at the Tonys, which puts the opening number and closing reprise together.
The Cast of “Six” perform live at the 2021 Tony Awards.
But how do the queens go from “one word in a stupid rhyme,” to a group of powerful, individual queens singing in harmony, without the man who made them famous? That’s what the solo numbers in “Six” do so incredibly well- tell each queen’s solo stories as rocking ballads, hilarious dis-tracks, soulful love songs, and… well stay tuned.
Part II: The Women and Their Queenspirations
1. Catherine of Aragon
Catherine of Aragon was Henry’s first wife and is still universally beloved, even though Henry decided to divorce her. As the epitome of a stand-alone power queen, it makes sense that Six modeled her character, costume, and songs after Beyonce, with a Shakira-inspired Spanish beat for good measure:
My favorite thing about her solo, “No Way” is how the writers paraphrase her real-life speech during the divorce trial in 1529. Below are the lyrics and the real speech:
Alas, Sir, where have I offended you? Or what occasion have you of displeasure, that you intend to put me from you? I take God and all the world to witness that I have been to you a true, humble and obedient wife, ever conformable to your will and pleasure. This twenty years and more I have been your true wife, and whether it be true or no, I put it to your conscience.
— Katherine of Aragon, 1529
2. Anne Boleyn
In some ways, the version of Anne Boleyn in “Six” is less a pop version of the real queen and more of a commentary on the nature of celebrity. If you watch the video, you can see how in life she was admired for her beauty and fashion but hated for her comments on Queen Katherine, her scandalous love affairs, and her brash nature. This explains the spiky pop-punk princess look they gave her, (which evidently resonates with many audiences since I saw at least two girls cosplaying as Anne in the audience). Sort of like a celebrity who gets canceled on Twitter or Princess Diana, Anne shows how a person can be undone when they dare challenge an established order, especially the Royal Family.
After the show, I found it a bit weird that they portrayed Anne Boleyn as a jetsetting airhead, but then again she is one of the best-known queens in history, so they can get away with it. In reality, Anne Boleyn was highly educated and a member of an ambitious and social climbing family who basically pushed her to woo Henry. As you can see in this clip from “Anne Of A Thousand Days,” Henry and Anne’s family bullied her constantly to become the King’s mistress after HE ALREADY GOT HER SISTER PREGNANT, so Anne knew that the only way to keep Henry from ruining her life was to convince him to divorce Katherine of Aragon and marry her.
Of course, this strategy didn’t save Anne in the end, which says more about how cruel Henry VIII was, chewing up women and spitting them out in his ravenous quest for a son. So is this an accurate portrayal of Anne’s life? No. Is it fun, ABSOLUTELY!
III. Jane Seymore
I’m more than I seem, or am I?
“Six” The Musical.
This version of Jane Seymore was inspired by Adele, so appropriately, she has a heart-wrenching power ballad about her turbulent relationship with Henry. Sadly, we don’t know much about Jane’s real life, so the song takes some liberties. If you go to the Hampton Court Website, you can actually vote as to whether Jane was a devoted wife or a social climbing gold-digger. Probably the real woman was something even more complicated, though we’ll never know for sure.
IV. Anne of Cleaves
Anne of Cleaves is the funniest part of the show! Many of us have heard the story that Henry divorced Anne after he found her ‘ugly.’ What “Six The Musical” does is amend the story, by pointing out that after he divorced her, Henry gave her a castle and a huge retainer, allowing her to live like a queen, without being married to a king! Accordingly, her song is a Rhianna-style dis track that shows off her awesome lifestyle, and spits in Henry’s stupid face!
As fun as this, rags-to-riches story is, the truth is less fun- Anne was the sister of a German duke, so Henry’s lord Chancellor Thomas Cromwell probably forced Henry to marry her for diplomatic reasons (source: Hampton Court: “Anne of Cleaves”). Naturally, Henry didn’t like being told what to do- I suspect he resented Anne before even meeting her because he didn’t get to pick her himself.
As for whether Anne was actually ugly, the truth is really surprising- Henry actually disguised himself as a peasant during a masked ball when he first courted Anne, and she foundhim repulsive. At the time, Henry was 49 years old, and in very poor health. As such, he was intermittently impotent and blamed his inability to conceive a child with her on her supposed ugliness to save face.
Even though Anne in the show hates Henry, in reality, once the marriage was annulled, Anne and Henry remained good friends for years! She attended his next wedding to Katherine Howard, and, just like in the show, Henry treated her much better after the divorce:
‘YOU SHALL FIND US A PERFECT FRIEND, CONTENT TO REPUTE YOU AS OUR DEAREST SISTER. WE SHALL, WITHIN FIVE OR SIX DAYS …DETERMINE YOUR STATE MINDING TO ENDOW YOU WITH £4000 OF YEARLY REVENUE…YOUR LOVING BROTHER AND FRIEND.’
Henry VIII, 1548, six months after their wedding, when the annullment went through.
V. Katherine Howard
Without question, Katherine Howard is portrayed as the most tragic of Henry’s six wives and her song is a huge sucker punch. The writers never let you forget that Katherine’s first affair was when she was 13, and she died at age 19. Like Anne Boleyn and Jane Seymore, Henry picked Katherine for his queen among his ladies in waiting and her song “All You Wanna Do” satirizes his and many other men’s lustful appetites. The song begins as a raunchy, sexy pop ballad in the vein of Britney Spears’ “Toxic” and “Womanizer” about Katherine Howard’s love affairs, but then devolves into a cry for help, as Katherine confesses how she was abused, used, and manipulated by the men in her life, (including her own cousin Thomas Culpepper) until she was beheaded in 1542. It masterfully satires both Henry’s cruelty and the hypersexualization of teenage pop stars which certainly took its toll on Britney Spears and Ariana Grande, Katherine’s major ‘Queenspirations.’
VI. Katherine Parr
Historically, Katherine Parr had to turn away her fiancee Thomas Seymore (just like Anne Boleyn was previously engaged to Henry Percy) once the king set his eyes on her for his wife, so her song is a sad, soulful Alicia Keys-inspired bittersweet song where she tearfully says goodbye to Thomas to spare his feelings and probably his life.
Not only does this song once again show how Henry’s selfishness and his lust ruined the lives of the women he married, (as well as the men who already wanted to marry them), but it also sets up the main idea of the show:
His-Story overthrown
In the final number, the wives turn the tables on Henry- they have spent centuries being defined by him, but in reality, he is just as much defined by them! Going forward, history should not define these great women as just, “The Six Wives of Henry the Eighth,” but to celebrate their individual lives and contributions to history. Katherine Parr mentions this when she points out that in life, she fought to allow women to be educated, she wrote books, and was a scholar of theology. Historically, Henry and Katherine would argue about religion and he nearly executed her after she disagreed on points of theology, but Katherine kept her life by claiming she was “Not disagreeing with [him], but simply learning from [him].”
I Don’t Need Your Love is sung by Catherine Parr in SIX: The Musical. The first part of the song refers to her love of Thomas Seymour, whom she probably wanted to marry rather than Henry (and did marry after Henry’s death). However, the song also protests at the fact that women are often defined by their relationship with men, rather than as people in their own right. Catherine wants to be remembered for what she did, rather than the men she married or loved.
Katherine Parr, Six.
The final number completes the idea of the ‘historemix’ by having the Six queens/pop stars come up with a re-imagined happy ending for themselves, one that doesn’t include the pain that Henry inflicted on them: Katherine A becomes a singing nun, (like Whoopi Goldberg in Sister Act), while Anne Boleyn starts writing lyrics for Shakespeare (which is a fun idea since he does mention “Greensleeves” twice). Jane Seymore forms a band with her many surviving children, Katherine Howard goes solo, and Katherine Parr joins the other queens in a supergroup. It’s not at all historical, but it is a fun and sweet way to put an epilogue on these (mostly) tragic lives.
It’s odd, however, that the show invents an epilogue instead of talking about the six queen’s greatest legacy- Queens Elizabeth and MaryI. For a show that wants to highlight the often-forgotten legacy of these queens, it is an odd oversight. Remember Catherine and Anne gave birth to queens who eventually ruled England without a king. Jane Seymore gave birth to a king, and Catherine Parr helped raise them and restored them to the line of succession- She’s the reason her stepdaughters were able to become queens in the first place.
My issues with the epilogue aside, it is great to see history be recontextualized and shared in such an accessible way. We all know that European history is dominated by the names of white guys- king whoever, duke what’s-his name. To see important women in history be given a voice by a multi-ethnic cast is a great way to make it resonate, and using the metaphor of pop stars works extremely well in this context- these women mostly didn’t choose stardom, but they deserve it for what they went through.
Brava.
Educational links related to the six wives of Henry VIII:
Greetings and welcome to part 2 of my podcast on The Empire Striketh back, the 5th installment in the William Shakespeare’s Star Wars Series.
Last time I mentioned Luke’s journey and how Droesher adapts the cinematic quality into Elizabethan drama through soliloquies.This time, I’m going to talk about the other main characters, Han and Leia. In my opinion, Doescher writes their journey much better and gives them lots of good romantic and comedic dialogue. I am also privileged that this time I will have some help with the voices- two professional actors, Hal Jourdan and Janine Ashley have graciously agreed to be part of this podcast, lending their voices to Han, Leia, the Wampa, and Luke. I’m grateful for their involvement and would love for you to check out their other work onstage. Below are some Youtube clips I made using their voices. Enjoy!
I’m so excited! One of my favorite Youtube channels is doing a series of videos where they try Shakespeare for the first time! Zach Kornfield, Eugene Yang, and Keith Habersberger known collectively as “The Try Guys” are a group of friends who seek out new experiences and share them with the world. They thrive on taking themselves out of their comfort zone and learning about the world through experiencing it firsthand in a funny, lighthearted way.
So, what could be more adventurous, daring, informative, and out of YouTube’s comfort zone than doing Shakespeare? So in a series of videos they are going to explore Elizabethan clothing, stage combat, learning how to speak Shakespearean verse, and finally on August 10th, 2023, they will perform “Romeo and Juliet” live on Youtube, with suggestions from the audience!
This post will be a reaction to the humor and information on Elizabethan clothing from part one of the series with my notes on Elizabethan fashion, and the costumes worn by Shakespeare’s company
Background on Elizabethan Clothing
I’ve written a series of posts about Elizabethan fashions. If you’re unfamiliar with the period, Queen Elizabeth reigned from 1558 to 1603. This was one of the most prosperous and cosmopolitan times in English history and the fashions of the time reflected this.
Report of fashions in proud Italy, Whose manners still our tardy apish nation Limps after in base imitation.
Richard II, Act II, Scene i
Clothing of this period was very hierarchical- if you were lower class, the garments had drab colors, were functional rather than fashionable, and were not tailored for individual people. On the other hand, upper-class people literally wore their wealth and status on their sleeves- clothes were tailor-made, colors were bright and hard to produce, and fashion styles represented the far reach and sophistication of the English court. One way the court proclaimed this was by importing fashions from Italy, as the quote above indicates. This might be one reason why so many of Shakespeare’s plays are set in Italy; the public wanted to see the exotic upper-class fashions in this play set in romantic, sophisticated Italy. In a way, Shakespearean plays were sort of a fashion show in the 16th century.
If they [Elizabethans] saw a onesie, their heads would explode!
Keith
Keith’s remark is referencing the fact that nowadays our clothes are stitched together on the spot by machines. If you buy pants or a shirt, it comes as one complete garment, but this is a luxury the Elizabethans did not have. Costumes came in pieces like ruffled collars, sleeves, skirts, kirtles, foreskirts, etc. All these pieces would need to be assembled by a patient lady or gentleman in waiting, which is why Elizabethan nobles couldn’t get dressed by themselves, as you can see in this graduate thesis video by my friend Anna Gonzales:
Keith Habensburger as Juliet
One of the best parts of the video is Keith trying on various upper-class Elizabethan ladies’ garments from dresses to skirts. The Try Guys have a long history of trying on female garments so in a way, they’re perfectly suited to try Shakespearean costumes.
Keith’s favorite Elizabethan costume piece is the famous neck ruff- a piece of rolled linen that goes around the neck worn by men and women. Ruffs were very popular in the Tudor court, so it became a symbol of Elizabethan fashion.
“A Shirt and a Smock”
In Anna’s thesis, she points out how Elizabethan undergarments came in the form of long shirts for men and a long linen one called a smock for women. In the video, Keith is puzzled by the garments and wonders if it would be at all erotic to see an Elizabethan in their not-at-all revealing shirts or smocks. As Anna points out in her thesis, these garments were worn close to the body, coming into contact with all the sweat and grime of daily life. So NO Keith, it wasn’t sexy to see an Elizabethan in his or her shirt or smock.
“THe Devil Himself Could Invent such stuff”- Elizabethan Corsets.
Every age has a new definition of the ‘ideal silhouette,’ that is, the figure that is most appealing in women that the clothes either create or accentuate. Elizabethan women were expected to have slim waists, small chests and wide hips. This look was accomplished through the use of a corset, which tightened the waist and compressed the chest.
Under the Hood- Farthingale, bum rolls, and petticoats
To create the wider hip look of Elizabethan women, bum rolls tied around the waist, and wooden farthingales created a bell shape for the hips and skirt. On top of that went the petticoat, kirtle, and skirt.
Eugene wears a petticoat on top of his corset and bum roll that is done up with red bows. Zach wears a lace collar that partly covers his head. Eugene’s sleeves were added separately.
Eugene As THe Nurse
Eugene’s clothing as The Nurse, reflects the fact that lower-class people had fewer and fewer fancy options in terms of fabrics, styles, and colors. The costume is a simple linen shirt, a basic corset, and grey clothes. I suspect that The Nurse was also helping Juliet get dressed, like the ladies in this video:
Men’s fashion- Zach as Romeo or “Bros wearing Hose”
Men in this period also wore custom garments- the sleeves were added separately and the pants had to be attached at the points. Unlike women, young men didn’t cover their stockings (hose) and enjoyed showing off the shape of their legs. Stockings were often brightly colored and sometimes padded to make the man wearing it look more muscular.
For Pride Month, I’d like to draw some focus to a celebrated LGBTQ film, based on a play that, while not Shakespearean, it was by one of Shakespeare’s contemporaries and one who influenced Shakespeare a lot. This film, Edward II, directed by Derek Jarman, was based on the play of the same name by Christopher Marlowe (1564-1593). The film came out in 1991, during the AIDS crisis, when gay and lesbian people were not only fighting for their lives against a devastating epidemic but also for acceptance from the heterosexual community. This film is not only a striking, well-acted, well-directed adaptation of Marlowe’s play; it is also an encapsulation of the fears, struggles, and anxieties of the LGBTQ+ community at the time.
Plot Summary/ Great Quotes
Biography Of King Edward II
Edward II was the son of the infamous King Edward I, aka, Edward the Longshanks, the Scottish Hammer. He lived from 1307-1327 – until he was assassinated.
Fact Vs. Fiction
Peter Hanley as Prince Edward in “Braveheart” (1995) directed by Mel Gibson.
Aside from a few historical footnotes, I’m betting that when we think of Edward II, we mostly think of this portrayal in the 1995 film Braveheart. Frankly, most contemporary accounts of Edward II’s reign are similar to this portrayal- vain, spoiled, weak, deluded, and an utter disgrace to his warrior father. One of his greatest embarrassments was his army’s catastrophic defeat at the Battle of Bannockburn in 1314. Edward’s sources mainly portray him as weak and feeble compared to his father, but we have to remember that this was a cruel, warlike society with very little place for anyone who didn’t conform to stereotypical masculine virtues. Probably in the minds of the English court, Edward’s homosexuality was linked with his failures as a king. It was up to Jarman’s production to make Edward feel more like a real man, and not just a gay stereotype.
Play Vs. Movie
In the play, it’s ambiguous whether Galveston really loves Edward, or if he’s using him for the king’s power and protection. In the movie, Galveston is definitely using Edward, making the king’s fawning all the more pathetic and tragic. As his son asks: “Why do you love him when all the world hates him?” This makes our sympathies teter between Edward and his court- we wish Edward would open his eyes and get rid of Galveston, but at the same time, who hasn’t been blinded by love? At the same time, Galveston has been hurting the country, and taking Edward away from his court and his queen. Like many other stories of monarchs in love, including the real-life story of our current king, there is a constant tension in the court between the monarch’s personal desires, and his or her responsibilities to the country.
Biography of Marlowe
Edward II and Richard II
Many scholars believe that Marlowe’s play helped influence Shakespeare’s Richard II, as they both center around weak, sometimes effeminate kings that fall prey to the machinations of other lords. In Shakespeare’s play, it is possible to play Richard as being in love with some of his favorite courtiers, but nothing is explicit. Obviously, Marlowe was much more overt in Edward’s love for Gaveston. To demonstrate how these plays are similar, here’s Ian McKellen playing Richard II:
Is this play Homophobic?
On the one hand, the story shows Edward as effeminate, weak-willed, and poor in judgment which does align with offensive homosexual stereotypes. On the other hand, the other lords of the court are portrayed as cruel and intolerant, and Jarman definitely makes Mortimer a cruel and homophobic individual. In addition, when Edward’s son Edward III, who famously conquered England and France, he is shown in the movie wearing drag, which clearly shows that a member of the LGBTQ community need not be weak or ineffective. It also shows that Edward III has inherited his mother’s strength, not his father’s weakness.
a sufficiently entertaining, adamantly old-fashioned adaptation that follows the play’s general outline without ever rising to the passionate intensity of its star-cross’d crazy kids
Romeo and Juliet is still taught more than any other text in American high schools, and since it’s a play not a book, teachers will inevitably want to show a movie in class to show some of the action to the students. Since this is the most recent high-profile film version of Romeo and Juliet, it seems inevitable that this will be the one teachers will show to students, so I will try to review this film from the point of view of an educator, not a Shakespeare fan.
The Concept
This film was financed by the Swarosvski Crystal Company and in the words of their own chairperson, the film is an extension of the Swarosvki brand. So if I were to describe this film’s concept it would be to dazzle the viewers with expensive costumes, exotic locations, beautiful visuals, and young, attractive actors:
To be clear, I agree with the director that Shakespeare should be updated every few years to keep it fresh and relevant. However, I would argue that this film doesn’t go far enough to make this concept fresh, and this version is destined to age poorly. Without a unique view of the play other than- “love is pretty”, the film lacks vision and is not very distinct. That said, it perhaps is a good way to introduce young people to the play, as we’ll see below:
Changes to The Plot
The Act I Tournament
The film opens, not with two servants fighting (yet), but with a tournament between the Monaegues and Capulets, where they joust instead of fight to avoid bloodshed. It is a striking image to be sure, and it is less confusing than starting a fight over biting a thumb, but it is a little odd that the Prince has this tournament to avoid street fights, and then they wind up fighting anyway over the results of the tournament. It works within the story but it makes the Prince seem dumb and it adds little to the story other than spectacle.
The Dialogue
As you can see from this clip, the dialogue of this film is changed liberally. The writers change Shakespeare’s lines to make them sound less Shakespearean. They also heavily cut the speeches to shorten the duration of the film. Cutting long speeches and substituting a word here and there is pretty standard for most Shakespeare movies, but what I find really irritating in this film is the number of lines that they add. It’s generally understood in Shakespeare that a director or actor can subtly change a few lines in a play- change pronouns, change an archaic word or two to make it easier for an audience, but this movie has the dubious record for most lines added to a Shakespeare movie. Some of these lines are paraphrases of the Shakespearean text, like all the dialogue of Sampson and Friar Laurence’s speech explaining the sleeping drug plan to Juliet. Some of the additions are character lines, like the scene where Benvolio admits he wants to woo Rosaline, (which to be fair, is an interesting change and I don’t mind it). Finally, some of the lines are designed to summarize speeches that the script cuts.
I know I sound like a purist here, but I feel that if you’re going to do Romeo and Juliet, use the text of Romeo and Juliet, and don’t change it unless it’s absolutely necessary. If you’re going to do an adaptation like Gnomio and Juliet or Tromeo and Juliet, you can throw out the Shakespearean dialogue and play around with dialogue using the plot and characters Shakespeare wrote. This film does neither- it mangles Shakespeare’s text but rigidly adheres to the story and characters, so it fails to pick a lane between faithful depiction or creative adaptation.
Small changes:
Mercutio is a Montegue now. This matters because in Shakespeare’s version, he was related to the Prince, which is why the Prince takes pity on Romeo for avenging Tybalt’s death. Changing his allegiance robs his death of some of the tragedy that he was a neutral party who got caught up in other people’s quarrels.
Tybalt is in love with his cousin Juliet, (which admittedly I’ve seen in other productions). It gives him more motivation to hate Romeo and makes him even more distasteful to the audience.
Sampson and Gregory appear, but they are not named, nor do they bite a thumb.
Benvolio’s role is merged with Balthazar and the actor is the youngest person in the cast. I honestly like this change a lot- Balthazar is a great character but he is functionally identical to Benvolio in the plot, so merging the two parts makes a lot of sense. Both Balthazar and Benvolio spend the play looking out for Romeo yet Benvolio disappears once Tybalt dies, so giving the actor Balthazar’s lines is a welcome change. Now Benvolio is literally with Romeo to the end, which makes us feel sorry for Romeo and his best friend.
Benvolio is in love with Rosaline and makes a play for her after Romeo falls in love with Juliet. This might be a subtle nod to their relationship in the novel “Romeo’s Ex.”
Rosaline is Juliet’s cousin now, which is not mentioned in Shakespeare’s version.
Rosaline actually speaks, remarking on the foolish nature of silly Romeo, the Montague, and the Capulets. She still has no effect on the plot though, and her dialogue adds nothing.
Concerns for Teachers
If you are a teacher, I would recommend you show parts of the movie, specifically the fights and some of the action in the second half rather than the whole thing, but once you read the rest of this review, you can draw your own conclusions. As I mentioned before the Shakespearean dialogue is heavily cut, new ‘modern’ dialogue is added in, and even some of the action is also changed. Because of this, DO NOT TRY to read the play along with this film, as your students will get extremely frustrated. In my class, I actually played a game where the students write down what the movie changed from the play to try and get them to engage with it. I would also recommend asking questions or quizzing the students on the plot or the famous lines since those are more or less intact.
According to Common Sense Media, the film is relatively tame for students, (which of course was one of the goals of making it), so the violence is toned down, there is little nudity and little cursing (there actually is a little PG-13 language added near the beginning, but not much).
Though the film is populated with English and American actors, the majority of the crew is Italian and principal photography was done in Italy, both on-location in places like Verona, Mantua, Rome, and other Italian locations.
Historical Context
The original story of Romeo and Juliet is set in the 1400s but based on the references to Early Modern fashion and music, we can assume Shakespeare set his version around 1593- (the year it was probably written). This production, based on its fashion and architecture is probably set around the early Baroque period, (c. 1600).
This time period was notable for abandoning neck and sleeve ruffs in favor of lace or linen collars (Source: https://fashionintherenaissance.weebly.com/fashion-timeline.html) . The famous pumpkin pants were also replaced with less fussy breeches as well. All these fashion choices are in the Romeo and Juliet movie and it’s fascinating to look at the choices they made for the film in behind-the-scenes documentaries. I shouldn’t be surprised here, but studying this period made me enjoy the film more- I lost myself in the spectacle and ignored their handling of the story.
The Costumes
Costume featurette from Romeo and Juliet (2013)
As you can see from the close-ups above, the Swarovski Crystal company definitely showed off some of their wares in Juliet’s costume. In fact, Swarovski sells a version of Juliet’s wedding ring.
You can also see in these costume renderings the influence of Pre-Raphelite artwork on the costumes, like this famous painting by Francis Dicksee (1884).
The Sets
Many of the street locations for Romeo and Juliet were filmed at Cinecitta Studios in Italy, but as you can see from this behind-the-scenes footage, most of the film was filmed on location in beautiful real-life baroque buildings in Italy:
The Locations
Many of the locations remind me of the high baroque architecture of the celebrated Italian sculptor and architect Gian-Lorenzo Bernini (1598-1680), who had his own Romeo and Juliet-style drama in terms of sordid love affairs, duels, and exiles:
One location I found very interesting to research was the Grotto of Sacro Speco in Subiaco, which was the location for Friar Laurence’s cell. This is a very holy site to many Catholics- it is the celebrated Cave of St. Benedict, the founder of the Benedictine monks. Friar Laurence is a Franciscan monk so this isn’t entirely accurate, but it does provide some wonderful religious eye candy during the scenes at his cell, and it does beautify the wedding scene.
The Music (rant alert)
THE MUSIC NEEDS TO SHUT UP! Especially in the love scenes, the music is too loud and drowns out the dialogue. I personally find it irritating that the score makes so much use of the piano, which wasn’t invented until 1700, since the movie is trying to be historically accurate. To be fair, the loud piano is actually the sound department’s fault, but the fact that pianos didn’t exist at this time took me out almost as much as the overpowering score, (which somehow won two International Film Music Critics Awards (IFMCA)!
The Cast
Reviewers usually love to rag on whoever plays Romeo and Juliet. It’s kind of a no-win scenario here- If they’re young, they’re inexperienced and thus, don’t know how to speak Shakespeare. If they’re older, they’re too old and shouldn’t have been cast in such a youthful role. So rather than falling into that trap, I’ll be positive about the casting and say what I like about the performances, while criticizing the direction, because I feel that in general, the acting in this film is fine, but there are some odd choices that the director should’ve thought twice about.
Romeo (Douglas Booth)
Booth might actually be my favorite film Romeo- he’s beautiful to look at, sweet, impulsive, naive, everything Romeo should be. He also knows how to deliver Shakespeare and can convey complex ideas through poetry. I could argue that he lacks the rage that Romeo should have when killing Tybalt, but I don’t think that’s what he was going for this Romeo is a good guy who is too sheltered and lacks proper guidance, so he makes rash choices because nobody is there to tell him why they are.
Juliet (Hailiee Steinfeld)
I don’t fault Ms. Steinfeld for this, but her worst scenes are sadly, the most famous. Her delivery during the Act I dance and the famous balcony scene is monotonous and dull. I think the director told her to act as if love put her in a trance, but the effect is that she sounds like she’s half asleep. Again, I know she can do Shakespeare because her scenes with the Nurse and Lord Capulet are much better; she’s passionate, articulate, and full of emotion. I think the director failed to give her proper direction to play a love scene realistically, and intentionally slowed the scene down so the audience could pick out the famous lines.
Lord Capulet
Some people argue that Lord Capulet is actually a good dad, but not this film. As I’ll show you later, this film is trying to play up the forbidden love aspect of the story, and what is more classic than an angry, disapproving father? To this end, even though Damien Lewis starts out jovial and sweet to Juliet, by Act III he is full of resentment and rage:
Damien Lewis as Lord Capulet, in a scene from Act III, Scene v
Tybalt (Edward Westwick)
Ed Westwick steals the show every time he’s on screen. He knows how to speak the Shakespearean lines and he makes the added lines sound Shakespearean (which is to say, actually good). With his fiery gaze and his thick, deep voice, he reminds me of a young Mark Strong and is equally good at playing smarmy yet compelling antagonists. You love to hate this guy, yet you feel sorry when he dies.
Friar Laurence (Paul Giamatti)
Giamatti rivals Pete Postlethwaite for my favorite Friar Laurence. He was a perfect choice and he has an effortless Shakespearean delivery. I think it’s telling that his lines of dialogue are the least altered from Shakespeare- the director knew Giamatti could make them work without any alteration. He also has a great rapport with both Douglas Booth and Hailee Steinfeld.
Moments to Watch For:
This film does well at portraying the forces that rip Romeo and Juliet apart- Tybalt’s maniacal hatred of the Montagues, Lord Capulet’s scheme to marry Juliet, and the influence of maligning fate. For this reason, the film is actually better in the second half, once the romance is over and the tragedy sets in. Again, a lot of this is due to the excellent performances of Ed Westwick as Tybalt, and Paul Giamatti as Friar Laurence, who frantically strains his brain to help the lovers and is thwarted at every turn. I wonder if, since the film was adapted by the creator of Downton Abbey, in which Giamatti starred, the writer placed most of the success of the film on Giamatti’s shoulders, intentionally or not.
My Reaction: Shakespeare for Twi-hards.
Forgive me for getting a little conspiracy-theory-ey here but, since the Twilight saga concluded in 2012 and this film came out the next year, I suspect that thisRomeo and Juliet was partially produced to cash in on the success of Twilight. After all, Twilight: New Moon is full of references to Romeo and Juliet:
As the video below demonstrates, Twilight and Romeo and Juliet are both examples of Petrachian love, which is to say, love thwarted, so similar themes and tropes are baked into both stories.
There are also stylistic similarities to how this particular Romeo and Juliet are filmed, such as the lush landscapes, the prevalence of piano in the score, the heavy uses of glamour shots, and even some of the Italian locations evoke Twilight:
Worst of all, I feel that this film tried to make Hailee Steinfeld, an Academy Award-nominated actress, try to act like Bella Swan in the Balcony scene. I think this is why the first half of the film drags and seems slow and dull- it is trying to emulate Twilight’s visual style and forces the actors to adopt a “Twilight School of Acting.”
So in conclusion, the film is uneven- it has talented people working on it, but I think the studio and the company were a little preoccupied with selling the film to a specific group of young people. Does it work for classrooms? For now, but I worry that this version won’t connect with young people for long, and because of its lack of focus and clear direction, it will probably go the way of Twilight– a brief cultural blip that is pretty to look at, but that is quickly forgotten.
Title image for my online course on “Romeo and Juliet.”
If you like this analysis, you might be interested in signing up for one of my Outschool Course on Romeo and Juliet Link down below. Share this class with a friend and you will get $20 USD off!
The Shakespearean Student 