William Shakespeare is widely regarded as one of the most influential playwrights in history, and his plays have been performed and studied for centuries. From the timeless tragedy of Romeo and Juliet to the hilarious antics of A Midsummer Night’s Dream, Shakespeare’s plays continue to captivate audiences around the world. Whether you’re a fan of tragedy, comedy, or romance, there’s a Shakespeare play for everyone. So why not revisit these timeless classics and discover the magic of Shakespeare for yourself?
This morning in the car we heard an NPR story about the most popular musicals to perform in high school. My daughter found the list on her phone and asked me to guess some. I said, “Well it’s musicals so I won’t bother guessing any Shakespeare.”
“That’s the other list,” she told me. Suddenly I was interested.
Alas it’s not “Most Popular Shakespeare” but I love that some Shakespeare made it to the top overall list!
How do you think other Shakespeare plays ranked? Which play would be next on the list and just didn’t make the cut? A tragedy or a comedy? Maybe Comedy of Errors, because it’s easy to produce?
Also, I must be out of the loop because I don’t recognize several of these, at all. Almost, Maine? Though if somebody tells me that Radium Girls is about Marie Curie (and women in science in general) then I’ll be very pleased. I am assuming that somewhere along the line 12 Angry Men turned into 12 Angry Jurors so that they could more easily cast female roles?
A funny thing happened the other day while discussing with my daughter. I discovered a book I’d written on the subject and completely forgotten about.
For years I’ve daydreamed about writing my own “intro to Shakespeare,” a fantasy that has evolved over time. My hard drives are littered with half-hearted starts that never went anywhere because I always talked myself out of it. Either I didn’t have the audience, the audience I wanted was already saturated, or I just plain wasn’t qualified. Finding excuses not to do something is easy.
But at some point, I sat at the keyboard long enough and wrote a complete-ish guide to The Tempest. It only goes about 17 PDF pages and is maybe 5000 words. But it has an introduction, a conclusion, and some actual structure in the middle. It’s even got pictures 🙂
Now I’m trying to decide what to do with it. I don’t expect that, by itself, I can just say “Here world, enjoy!” But I also know that I don’t need 50,000 words to throw something out on Amazon that people might find worth reading.
That’s where you come in. I’d like to send it to a few people who’d be willing to give some constructive criticism about what I might do with it – content to add, mistakes to correct, fine-tuning to …tune. I do not need an academic redlining, believe me. I’ve already got 99 reasons to forget the whole idea. I’m looking for supportive folks who’ll help me actually do something with this instead of giving me more reasons to forget the whole idea.
My real motivation for doing this is because both my girls want to be writers, and both of them suffer from terrible anxiety about letting the world see their work. I’m using this as an opportunity to throw something out there and show them that not only does the world not come to an end when other people read your stuff, but they might actually get some value out of it.
If you’re interested, please drop me a line at duane@shakespearegeek.com and I’ll send you the PDF. I’d like to get into an email correspondence with anybody that’s got feedback to offer, I’m not looking for just comments here on the blog post.
A couple of times recently I saw people asking for advice on how to read Shakespeare. Normally this turns into people telling them that Shakespeare was meant to be performed, not read. So what they should do is to go find a live production of the play they were thinking about reading and watch it instead.
I’ve always hated that response. I don’t think that anybody in the history of that question has ever meant, “Hey, I’ve got a choice between seeing a live production of this play, or reading it, what should I do?” If somebody wants to read Shakespeare, why are we trying to stop them? Either they are a student who has to, or are trying to learn more on their own. I think we should be encouraging that, not trying to talk them out of it.
To that end, I’ve come up with a new recommendation that I’m going to start using. I call it Speed Reading Shakespeare. I can’t say I’ve taken it for a spin yet personally, but I look forward to doing so because I can’t see why it wouldn’t work.
Let’s pick a play as our example. Shall we say A Midsummer Night’s Dream?
Great. I’m going to assume that you have, or can get your hands on, a reasonably modern edition of the play. By that I mean it should have some degree of footnotes/glossary, modern spelling, and just in general be more approachable/readable than going straight to the First Folio. That can be fun, too, but it’s not for beginners.
Ok, awesome. Now go get a movie version of Dream. Preferably several. This is most likely easier than it sounds – a quick search tells me that there are two versions streaming on Amazon Prime right now (the 2016 BBC version, and the all-star 1968 Peter Hall version). But a little searching on Hulu, YouTube, and other streaming sources will no doubt reap benefits.
Is live performance better? No, not for this project. First, there’s the real world limitation that maybe Dream isn’t playing someplace convenient for you. But more importantly, you can’t pause live theatre. If you are unfamiliar with the play, then you are guaranteed at points to say, “Wait, what did he just say? I’m lost.” Sitting at home with the remote control, you’ve got that under control. 30-second rewind button to the rescue!
Here’s the fun part, though. Ready for the magic? Turn on the subtitles.
Would you look at that! Now you’ve got your own personal production of A Midsummer Night’s Dream being read to you, all while sitting comfortably in your living room with your copy of the script, a bowl of popcorn and your Snuggie.
I’d love to say, “Just have the play open and follow along with the movie.” There are a few reasons why this doesn’t work. First, you’re constantly taking your eyes off the screen to read, which breaks your ability to understand the flow of the story. Second, any production you see is going to edit. They’re going to change words, they’re going to give lines to other characters, they’re going to cut large sections. If, every time they do that, you have to spend a few seconds saying, “Wait, where are we?” you’re just going to get lost.
Watch the play this way. If you have the opportunity to see multiple productions, watch all of them. You’ll discover immediately that you can spot where the productions differ (in terms of what they cut) because sometimes you’ll be saying “Wait, the first one said X Y Z and this one didn’t” or “I don’t remember the first one saying X Y Z like this one just did.” If you get lost or confused, don’t be afraid to pause and rewind.
Now, after you’ve done this, now go read the play. Suddenly it will all start to make sense because it’s not just words on the page. You’ll have sounds and images in your head to go with the words. If you’ve watched a few different interpretations you can even start to understand the characters. Maybe you think, “The Demetrius I saw in the first one delivered this speech much funnier than in the second one, in the second one he’s really kind of mean and I hate him.”
Wait, you’re perhaps asking, how is that speed reading Shakespeare? Going through a couple of movies, reading it, then watching it again? That’ll take hours. Days.
Well, yes. Speed reading is not “Go through it once, very fast, and you’ll absorb everything.” Speed reading is about making multiple passes through the material. You then use each pass to better structure your understanding of the material. The next time through you’re “filling in the gaps” you missed the previous time. The first time you watch the play you’re trying to follow the words but you’re mostly just getting the story – who are these people, and what are they doing? Watch it again and you know the people and the story, so you pay more attention to the words.
I think, after going through this exercise, you’ll have a much better understanding of the play than if you (a) sat down and read the No Fear Shakespeare version, or (b) found a live production and suffered through that. I’ve got a version of King Lear that I have to get around to watching, and I think I’ll try my subtitles trick. I’ve read Lear and seen multiple productions, but I’m curious whether that trick gives me deeper insight into the text. I’m betting it does.
I have no idea what I’ve found here, but I thought it would be fun to get back to the roots of this blog by writing about cool Shakespeare things. I give you “Something Cool in Denmark,” or, “The Hipster Hamlet,” starring Robert Goulet.
This was apparently from something called the Chrysler Festival in 1957.
My parents are old enough to perhaps remember this, but if it was some sort of one time event I doubt they will. I’ll ask in the morning and update the post if I find anything.
UPDATE : Asked them, and while they had no specific memory of the show, my dad dug up some links that I hadn’t found including this one to an episode guide of the short-lived show. Other than Robert Goulet I don’t know any of these names.
Apr 17, 1957 – Guests on the final program of the season are the Liberace brothers, comedian Herb Shriner, contralto Marian Anderson, baritone George London, Shirley Harmer, the Don Wright Chorus and the cast of the annual Toronto review, Spring Thaw. The Spring Thaw cast will present Something Cool In Denmark, a take-off on Shakespeare’s Hamlet. Taking part will be Bob Goulet as Hamlet, Peter Mews, Sheila Billing, Paul Kligman, Barbara Hamilton, Dave Broadfoot and others. The Oscar Peterson Trio, originally scheduled, will not appear.
I recently talked myself into reading the biography of Robin Williams. It wasn’t a question of whether I’d enjoy it. I loved the man’s body of work. It was more a question of whether I was prepared for the inside story of his end.
But we’re not there yet, I’m less than half way through. I want to talk about his Shakespeare. I think anybody that followed the man knew he had some Shakespeare in him. He attended Julliard, for starters, and was known to drop Shakespeare references throughout his improvisations:
He also, of course, played Osric in Kenneth Branagh’s Hamlet.
What I did not realize is that he *started* with Shakespeare. His Malvolio received rave reviews. I did a little digging, and look what I found!
This image is from 1971. I only wish I could have found the complete review! I did get a pointer to it, but it was behind a subscription paywall so I gave up on that idea.
But then! I found something even more exciting. The book talks about a Western production of Taming of the Shrew that Williams was part of. I won’t say “starred in” because it looks like he played Tranio, not exactly a major role. And guess what? There’s video! Unfortunately, there’s no audio so all you really get is Robin Williams in a cowboy hat standing around in the background.
I’m about halfway through the book now, well past Mrs. Doubtfire and Dead Poets’ Society, so I’m pretty sure I’m not going to see any more live Shakespeare credits. But I was very excited to learn about a few that I never knew!
