Planning for the future of Shakespeare’s town

POI-17-2The future of Stratford-upon-Avon is under discussion as never before, with two separate schemes currently under consideration. Anyone who cares about the history of the town and its Shakespearian heritage now has an opportunity to make their feelings known.

Firstly, everyone is being encouraged to comment on the Stratford-upon-Avon Neighbourhood Plan. This plan has been facilitated by the Town Council, and created by 40 Stratford residents representing a large number of local associations and organisations. On Sunday 30 June the first consultation was held at the Town Hall, and there’s another chance on Monday 1 July from 1-8pm. Display boards give additional information about some of the specific ideas and lots of people are there to answer questions about the plan and what it will mean. At the Town Hall you can pick up a questionnaire, but if you’re not able to get there yourself you can check out the website and fill in the same questionnaire online. Non-residents can fill in the questionnaire but only locals will be able to vote on the finished plan, though I get the impression it will be open to all residents, not only those on the electoral roll. It’s also possible to sign up on the site to be kept informed of the date of the vote.  The final date for questionnaires to be completed is 22 July 2013.

POI-02-1The survey covers a number of areas: Housing, Employment, Town centre, Heritage, Environment, sustainability and open spaces, Infrastructure and Leisure and wellbeing and community. Perhaps inevitably given my obvious interest in all things Shakespearian, I’d like to see more weight given to the Heritage section, and I’m disappointed to find Shakespeare’s name mentioned only once within the entire document. Stratford is unique. The document claims that Stratford-upon-Avon is probably the best known heritage market town in the country. I’d say it’s probably the most famous small town in the world, loved by many people for whom every visit is special and for some a once-in-a-lifetime event, all because of its connection with the most famous writer who ever lived.

Stratford can’t and shouldn’t be preserved in aspic but the building of new houses, schools and roads needs to fit with its historic and cultural setting. This is the first time people have actually been asked for their opinions so don’t waste the chance.

POI12 DSCN1185The second consultation currently taking place relates to the site of New Place, Shakespeare’s house. The site itself, Nash’s House next door, and the extensive gardens behind, are owned by the Shakespeare Birthplace Trust. It’s a beautiful place, but one which I think has never been as engaging as it could be bearing in mind that this is where Shakespeare lived and died, and where he may have written some of his late plays.  The Trust’s Head of Major Projects, Mark Armstrong, explains that they aim to “bring to life the story of this wonderful site with many layers of cultural heritage and Stratford-upon-Avon’s history”. Unlike the Neighbourhood Plan draft, which asks people to  choose which objectives to prioritise and to agree or disagree with a range of general options, the Trust’s plans are well advanced. In the garden they aim to retain much-loved elements like the Knot Garden and the Yew Walk, as well as the historic mulberry tree while adding contemporary planting. They also aim to enhance Nash’s House to include better facilities such as a lift to the first floor, a first-floor space from which the Knot Garden can be viewed, and a new exhibition centre which will tell the story of Shakespeare, the man, and his life in Stratford.

Sketch-diagram_1The Trust has already held one consultation day and is having another on Friday 12 July when members of the public are welcome to view and give their comments. Again, if you’re unable to visit in person there is a lot of information online, and feedback is welcomed.

These are important initiatives. They both give all of us who care about Shakespeare, wherever we come from, the chance to have a say in how the town in which he famously was born, lived, and died will celebrate him long into the future.

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Blogging with Titus Andronicus

 Stephen Boxer (Titus Andronicus) and Rose Reynolds (Lavinia) Photographer Simon Annand

Stephen Boxer (Titus Andronicus) and Rose Reynolds (Lavinia)
Photographer Simon Annand

Last Thursday, 25 June, I attended an event at which the Royal Shakespeare Company invited bloggers to a performance of their current production of Titus Andronicus followed by a Question and Answer session with the director and members of the cast. I’m going to be writing more about this event later, but for now I’m posting a few sound clips from the Q&A which featured director Michael Fentiman and cast members Katy Stephens (Tamora), Stephen Boxer (Titus) and Rose Reynolds (Lavinia).

The discussion ranged around many areas of the production, the performance experience and the rehearsal period, as well as some wider thoughts about how the play relates to others written by Shakespeare.

The quality of the recordings is a bit hit and miss, but it’s still interesting to hear the voices of the actors and director talking about a production which has obviously been an absorbing project for all the participants.

Violence is a key theme of the play and of the production, and I begin with Rose talking about playing Lavinia, in particular after she has been horribly violated.

This second clip is of Stephen talking not about his own performance but about the character of Aaron, prejudice and human nature as described by Shakespeare.

Music is a notable feature of the production and here is Michael talking about the way in which music is used.


And finally here is Katy talking about performing Shakespeare’s women. A few years ago she played both Joan of Arc and Queen Margaret in the Henry VI plays for the RSC, and here she discusses the threads that link those characters, Tamora, and Shakespeare’s later creation, Lady Macbeth.

Katy Stephens (Tamora) Photographer Simon Annand

Katy Stephens (Tamora) Photographer Simon Annand

I’d like to thank all the participants for so generously giving their time, to the RSC for organising this event, and to the other bloggers who took part for their stimulating questions.

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Shakespeare’s world view: the history of maps

Map of Italy dated 1579

Map of Italy dated 1579

It’s hard, indeed impossible, for us to imagine what it would be like to live without a clear idea of the world outside our own immediate locality. But many people of Shakespeare’s period might never have seen what we would call a proper map. Laurence Nowell’s map of the British Isles was published in 1564, and Christopher Saxton’s map of Warwickshire appeared in 1576. And these maps, as well as earlier manuscript maps, would have been seen by only a fraction of the population.

Shakespeare, obviously, was familiar with maps. In Henry IV Part 1 the rebels look over a map and discuss how they will divide land between themselves, and in the same vein, in King Lear, the map begins the very real fracturing of the country that follows its division. Onstage it’s quite common for the map to be torn apart as the play progresses, and as the inner world of the characters falls apart. Then of course there is the lovely section of The Comedy of Errors where one of the characters is described as “spherical, like a globe”, and two characters proceed to bawdily “find out countries in her”.

Maps were seen as factual, so symbolically honest. In Henry VI Part 2, the king exclaims:
 Ah, uncle Humphrey! in thy face I see
The map of honour, truth and loyalty

But maps were mostly about power, not about travel. Queen Elizabeth 1, in the Ditchley Portrait, stands with her feet firmly planted on a map of her kingdom. Nowell’s map was made not to help people move around the country, but on the command of  Elizabeth’s first minister, William Cecil, who is supposed to have carried a small version with him at all times.

Some clues about how people communicated are to be found on this site, a history of the postal service that includes a map of the network of post roads during Shakespeare’s lifetime and describes the structure that ensured the delivery of items sent by post.

Galileo's view of the moon, 1610

Galileo’s view of the moon, 1610

Maps became common enough for jokes to be made about them: in Twelfth Night,  Malvolio is said to:
smile his
face into more lines than is in the new map with the
augmentation of the Indies:
a reference to Mercator’s map of around 1592.

Our modern obsession with maps has resulted in many online resources, and the rest of this post is going to expand on some of those which I’ve recently discovered and been intrigued by. The most comprehensive is Old Maps Online, a collaborative project that does what it says on the tin. It’s easily searchable through a map of the world, and includes a timeline.  There’s a review of the site here.

A Ptolemaic view from 1559. Atlas bearing the universe on his shoulders

A Ptolemaic view from 1559. Atlas bearing the universe on his shoulders

Another treasure-trove of map images, which provided several of those reproduced here, is the Library of Congress. Both these projects  demonstrate through maps the development of scientific knowledge about the world during Shakespeare’s time, when the ancient Ptolemaic system, in which the earth was at the centre of the universe, gave way to Copernicus’s discovery that the planets revolve around the sun.

If you’re interested in finding out more about early maps you might like to check out the British Library’s map project in which members of the public can link old maps with online ones by a process called Georeferencing.

And here’s a project I heard about just as I was writing this piece. Tate Gallery’s Art Maps project aims to get people to help locate exactly where paintings were made. The website claims:
It also will allow people to record and share their memories and emotional or creative responses to the places associated with the artworks in ways that will generate learning experiences and create new communities.
Sounds fascinating, do take a look.

For those of you who like a mystery, you might like this story about the Vinland map. This manuscript map appeared to show that the Vikings had discovered America before Columbus. It was found in the 1950s and in 1965 experts dated it to around 1440. It’s authenticity has always been in question, but what is particularly pleasing about this story is that it’s an amateur researcher who has done some sleuthing, following up early records of the documents of which this is a part, and found no mention. It looks like the Vinland map is a clever fake.

One of Alfred Wainwright's Lake District maps
One of Alfred Wainwright’s Lake District maps

While we’re thinking about handmade maps, the Guardian recently ran a piece on why hand-drawn maps are back in the picture. With their personal associations, they warm our hearts just as any other recollection of a favourite place. My favourites are the delicate walking maps, part of Alfred Wainwright’s multi-volume Pictorial Guides to the Lakeland Fells, each one a perfect combination of the aesthetic and the practical, and a labour of love.

And this link is to a new book telling the story of our infatuation with maps from Ptolemy onwards. Will people ever have the same feelings for a sat nav? I somehow doubt it.

 

 

 

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Midsummer Night’s Dreaming: online experiment and real-time event

Gregory Doran watching the performance

Gregory Doran watching the performance

This weekend Stratford-upon-Avon has been the venue for a “daring new collaboration” between the RSC and Google’s Creative Lab to stage a real-time performance of A Midsummer Night’s Dream while simultaneously creating a digital presence in which anybody could join. The whole thing has been led by the RSC’s Artistic Director, Gregory Doran.

John Wyver of Illuminations and the RSC’s Media Associatie has posted two blogs, here and here describing the unfolding of the event and asking some important questions about it. He quotes Google’s Tom Uglow’s explanation of the project:

Conventional theatre starts with a stage. An audience comes, sits in front of it, they suspend reality, enter the narrative’s reality and are entertained. But why a stage? We don’t need a stage. Modern theatre makes the audience walk, or puts them in a car, or makes them the actor; our stage is online, it is fragmented, glimpsed, experienced and amplified through sharing – the narrative exists around us and immerses us…

Today’s big news events—riots, bombings, royal weddings—all become subject to this anarchic, multi-dimensional, multi-authored storytelling. About 18 months ago we started wondering if one could apply the same treatment to a fictional narrative, like a play? Could we bring a play out of the scenic world and into the real and online worlds? Could we generate the same storytelling impetus using Google+ as a platform? … A world of peripheral, unwritten parts occurring simultaneously within and around the main play.

moonThe performance began on Friday evening with the preliminary scenes of the play, and continued on Saturday night, or perhaps I mean Sunday morning at 2.30 am when they performed the main section of the play up to the waking of the lovers in the forest. Many of the tweets sent by people in the audience mentioned the magical effect of staging these scenes in real time in Stratford, hearing the dawn chorus of birds and seeing the sky lightening outside the Ashcroft Room. For me, just before “deep midnight” on Saturday, when Lysander and Hermia were due to be making their fictional escape from Athens, I spotted the full moon through the clouds.

Joe Dixon as Bottom returns to his fellow-actors

Joe Dixon as Bottom returns to his fellow-actors

On Sunday afternoon I joined the throng of people in Avonbank Gardens and the Dell for a performance of Act 4 Scene 2, in which Bottom returns to his fellows, and for a rehearsal of the final act in advance of the performance scheduled for 11.30.

Inevitably, rain stopped the rehearsal before the end, after an afternoon plagued by mostly grey skies and blustery wind that snatched the words from actors’ mouths. The play was continued at 11.30 pm and as they reached the end of the mechanicals’ play the bells of Holy Trinity Church just over the wall chimed the hours.
The iron tongue of midnight hath told twelve.
Lovers, to bed; ’tis almost fairy time.

Rehearsal: Philostrate reading the titles of potential entertainments to Hippolyta and Theseus

Rehearsal: Philostrate reading the titles of potential entertainments to Hippolyta and Theseus

This has all been great, and the magic of performing this play in real time in Shakespeare’s Stratford makes it an event very much worth repeating. The RSC has brought in some of its most polished performers including Peter de Jersey, Alexandra Gilbreath and Mark Hadfield. But it will be interesting to see how it is regarded as a digital event, or as a hybrid digital and real-time event. As John Wyver has pointed out in his second post, there doesn’t seem to have been the sense of a conversation going on in the online exchanges. I was pleased to receive photographs on Google+ of the play taking place during the night, but they didn’t draw me in.

Watching the rehearsal in The Dell

Watching the rehearsal in The Dell

I only felt part of the event when I actually went along to the afternoon staging. Several of the online responses commented on how much they wish they were in Stratford. And John Wyver quotes a tweet he received asking if the web presence has been just “digital candyfloss”.  Here’s a link to Pete Kirwan’s response to the online material.

Midsummer Night’s Dreaming has been a step towards finding methods of involving new audiences who would never set foot in a theatre but love their smartphones. Where, I wonder, will this take us next?

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The Beaumont and Fletcher marathon

Title page of The Maid's Tragedy

Title page of The Maid’s Tragedy

The students of the Shakespeare Institute in Stratford-upon-Avon are currently undertaking a project which I think is almost certainly unique: to read out loud all the works of the playwrights Francis Beaumont and John Fletcher in what they are calling the Beaumont and Fletcher Marathon. Beginning on 10 June, and ending on 29 June they are reading three plays a day, taking just Sundays off.

This link takes you through to Dr Martin Wiggins’ account of the project, and of the careers of Beaumont and Fletcher themselves.

Dr Wiggins is the author of the multi-volume British Drama 1533-1642: A catalogue, the first two volumes of which are already published. The Marathon reading will be supporting his work on the dating of these plays by field testing his proposed chronological order of the composition of the plays.

Francis Beaumont

Francis Beaumont

Beaumont and Fletcher are always mentioned in the same breath, but in fact they did not always write together. Beaumont died aged only 32 just weeks before Shakespeare, in 1616, after only a few years of working with Fletcher. Fletcher was a few years older, and as well as collaborating with Beaumont he wrote many plays on his own and in collaboration with a string of other writers including Shakespeare and Massinger. Fletcher died in 1625, aged 46. Their most famous plays include The Knight of the Burning Pestle (which was actually entirely written by Beaumont) and The Maid’s Tragedy. Fletcher worked with Shakespeare on Henry VIII, The Two Noble Kinsmen, and the largely lost play Cardenio. After Shakespeare’s retirement Fletcher became the leading playwright for the King’s Men and following the reopening of the theatres after the restoration of the monarchy in 1660 his plays were among the most performed.

John Fletcher

John Fletcher

The choice of plays currently being read is a little complicated because of the mysteries surrounding collaborative writing: the first collected edition of the plays was published in 1647, the second in 1679, but because modern academic work has established that some of the plays included in the latter are not the work of either man these are being omitted. Both men had been dead for many years before these publications. A few plays not in either (such as Henry VIII, written collaboratively by Shakespeare and Fletcher), are being read. False attribution is not uncommon later in the seventeenth century: the third Folio of Shakespeare’s plays, published in 1663-4 contains several plays that Shakespeare had no hand in, such as The London Prodigal.

See here for more about the project, including a complete list of the 58 plays and 1 masque plays being read.  Visitors are welcome to attend, and the text is being simultaneously projected so it will be easier to follow. The readings are taking place in support of the Lizz Ketterer Trust. More information about the aims of the Trust, and how to sponsor the readings, is to be found on the site.

Earlier in the week I mentioned the Shakespeare productions listed on the Shakespeare Institute’s Touchstone site. For those interested in plays of the period not by Shakespeare, there is also a listing of Current and Forthcoming Renaissance Drama Productions in the UK.

Beaumont and Fletcher's First Folio

Beaumont and Fletcher’s First Folio

It’s particularly exciting to report that the Shakespeare Institute’s copy of the Beaumont and Fletcher First Folio is on display during this period. This copy was once owned by the writer Anthony Trollope, who noted on the title page that the last play being read, The Fair Maid of the Inn, “is the worst play in the volume”. Will, I wonder, those reading and listening agree after their three week marathon? And will their appreciation of Shakespeare be heightened after their experience?

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Robes and furred gowns: costume in Shakespeare’s England

tudor costumeOne of the most compelling exhibitions of the year for anyone with an interest in life in Shakespeare’s period is that currently at the Queen’s Gallery, Buckingham Palace where In Fine Style: the Art of Tudor and Stuart Fashion is running until 6 October.

The exhibition follows the changing fashions of the period, including cross-fertilisation across Europe, using paintings from the Royal Collection. Over 60 paintings are on display as well as original garments, jewellery and accessories. Clothing indicated social status and the members of the court and royal families were the leaders of fashion, wearing the most sumptuous of clothes. What you wore, and how you wore it, also sent out important messages.

study day picAs well as the exhibition, events are also taking place: a study day on 22nd June is coming up, and a concert on 3 July.

It wasn’t of course just the nobility who were interested in clothes. In his 1577 Description of England William Harrison complains:
The phantastical folly of our nation (even from the courtier to the carter) is such that no form of apparel liketh us longer than the first garment is in the wearing… And as these fashions are diverse, so likewise it is a world to see the costliness and the curiosity, the excess and the vanity, the pomp and the bravery, and finally the fickleness and folly, that is in all degrees, insomuch that nothing is more constant in England than inconstancy of attire. 

The 1574 Sumptuary laws were set up to prevent people of modest means wearing costumes that were too expensive for them, as well as making sure people of modest backgrounds did not dress above their social station. They were though often ignored, so strong was the desire for the latest fashions.

Clothing is often mentioned by Shakespeare, and in The Taming of the Shrew there is a scene in which a tailor brings in a gown for Katherina to try on. She’s promised the very best:
With silken coats and caps, and golden rings,
With ruffs and cuffs and farthingales and things.

Only for Petruchio to complain about the over-elaboration of the latest fashions:
What’s this? A sleeve? ‘Tis like a demi-cannon.
What, up and down, carv’d like an apple tart?
Here’s snip and nip and cut and slish and slash.

A reconstruction of one of Schwarz's costumes

A reconstruction of one of Schwarz’s costumes

Some recent work has drawn attention to a piece of evidence that confirms that an interest in clothes was widespread. The Schwarz Book of Clothes dates back to the first half of the 1500s, and is a unique record of one man’s interest in fashion. What’s particularly interesting is the fact that Matthaeus Schwarz wasn’t a nobleman, but an accountant working for a banking organisation in Augsburg, Germany.

“He started to record his appearance in 1520, initially commissioning 36 images to retrospectively cover his appearance from childhood up until the age of 23. Over four decades he commissioned a total of 137 original watercolour images of his outfits, painted by three principal artists. “

Although Schwarz’s obsession was extreme, according to Jenny Tiramani it  “challenges the cliche that everyone who didn’t attend at a royal court went around dressed in grey rags and sack cloth.” Fashion was a subject in which the middle classes might also take an interest. The book is kept in a museum in Braunschweig, and is now receiving academic attention. The web page contains a huge amount of information and I would encourage you to follow it up.

Portrait of a child with a rattle

Portrait of a child with a rattle

I’ve also discovered this blog post which reviews a recent book on childrens’ clothing, Jane Malcolm-Davies, Ninya Mikhaila and Jane Huggett’s The Tudor Child: Clothing and Culture 1485 to 1625. Boys and girls were dressed alike for their first few years until boys were breeched, but the book suggests that the sex of the child could be indicated by more subtle means such as the shape of the collar.

This quote from the book explains one of the mysteries, what Elizabethan mothers made nappies from:

In 1573, Anne Bacon wrote to her stepmother asking for some old linen “to make cloutes for myself & the childe. Your Ladyship knoweth how good old linen is [for] such uses, yea better than new.” Used linen was suitable because it was softened and became more absorbent with repeated washing. The linen clout may have been doubled and lined with a layer of soft rags or with an absorbent material, such as sphagnum moss, and was usually fastened with pins.

We’re always fascinated by what’s being worn underneath, aren’t we? As Shakespeare put it “”Robes and furred gowns hide all”.

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Shakespeare festivals here, there and everywhere

twelfth_weblogo_comingsoonIt’s that time of year when at least for those of us in the northern hemisphere thoughts turn to summer Shakespeare festivals.

It’s a subject that has recently been in the mind of Hardy M Cook, the man behind SHAKSPER, the Global Electronic Shakespeare Conference.

A number of years ago he was responsible for compiling the list of summer Shakespeare festivals which appeared in the journal The Shakespeare Newsletter, which helpfully provided a list of addresses and contact details for festivals which otherwise might slip through the net of the keen Shakespeare-goer. Times have changed, and his recent idea is to use the members of the SHAKSPER list to provide no only the details of the festivals, but also to review any productions they had seen. SHAKSPER entries are already archived so these reviews will be there for anyone to check out in the future.

In only a week the page has been created and the tab is there ready for use. One of the great advantages of the internet is, as Hardy suggested in his post on 6 June, that a simple system can be set up with the minimum of fuss.

I am not proposing a formal apparatus. I am not suggesting there be reviewer selection or peer review of performance accounts. I am simply suggesting that if a SHAKSPER member attends a production this summer and wishes to do so that she send the review/account to the list as just another possible subject for discussion.

There is no need to discuss this idea, no need to establish a structure, no need to do anything other than provide a review/account of productions you see this summer. 

Photo-9-PressIf you’d like to check out the listing, here’s the link, and information is on the site regarding how you can add your review.

Inevitably others trying to do something similar have got in touch. Colleen Kennedy has created another list including European festivals, and here’s the link to her post.

Internet Shakespeare Editions have also pointed out that it’s already possible to add your review of a production to their site. I’m particularly grateful for this information as I hadn’t realised this, called the ISE Performance Chronicle, was a feature of this important website. If you want to add your review you have to register but otherwise it’s available for anyone, and reviews submitted to SHAKSPER will be shared with it.

Here’s the description:

The ISE Performance Chronicle is a unique new platform for Shakespearean performance criticism. It provides, for the first time, a dedicated online space in which theatre practitioners, scholars, critics and members of the public can analyze and interactively discuss contemporary Shakespearean performance. The Chronicle has a dual purpose. First it aims to raise current awareness, understanding and enjoyment of the diverse ways in which Shakespeare is performed in venues around the world in the twentieth, and early twenty-first century. Second, over time, the Chronicle create a substantial and permanent database of informed criticism for future historians, scholars, actors, theatre-goers, and students of Shakespeare in performance. 

ayli_zoomBut what about UK productions? You might say these don’t need extra publicising, with Shakespeare being performed in so many major theatres, but in fact there are performances of Shakespeare happening all the time which slip off the radar. The best place to find these is on the University of Birmingham’s Touchstone site, where Current and Forthcoming Shakespeare productions in the UK are listed.

The final suggestion, made via SHAKSPER, was for an app, to be called SHAKES-where?, which would bring up suggestions for Shakespeare performances wherever in the world you and your smartphone happened to be. There are lots of examples of similar apps for different kinds of events and this could be terrific.

As regular followers of this blog will know I have my own interest in reviews of performances of Shakespeare, though my main area is Stratford-upon-Avon (not just the RSC). I’m continuing to make recordings of people’s memories of attending, being in, or contributing to Shakespeare productions from the past. Although it’s easy to film or record your impressions to post on YouTube, write your own blog, or contribute a review to SHAKSPER or the Internet Shakespeare Editions, these options were not available to audiences and practitioners in the past. I’ve already captured some memories of Hamlets in performance in Stratford from as early as the 1950s which you can find in the Listening to the Audience section of my website and there’s lots of scope for others to do the same sort of thing for themselves.

I’m looking forward to seeing how these projects continue to develop, and would welcome any thoughts about how memory projects like mine might be included or expanded.

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Into the Wild with Timothy O’Brien’s Love’s Labour’s Lost

Estelle Kohler's costume as Rosaline

Estelle Kohler’s costume as Rosaline

I’m revisiting the RSC’s Into the Wild exhibition again, where one of the costumes from the RSC’s 1973 Love’s Labour’s Lost is exhibited. It’s the formal version of Rosaline’s costume (Estelle Kohler) with a train and matching parasol. One of the production photographs shows her and the other ladies of the French court, including Susan Fleetwood as the Princess.

The lead designer for the production was Timothy O’Brien, along with Tazeena Firth. O’Brien joined the RSC in 1966 and his designs added to the success of many of the Company’s notable productions including John Barton’s Richard II and Troilus and Cressida and two productions of Love’s Labour’s Lost, the first in 1973 directed by David Jones, the second by Terry Hands.

Berowne (!an Richardson) kneels before Rosaline (Estelle Kohler). Behind her is the Princess, played by Susan Fleetwood and her ladies

Berowne (!an Richardson) kneels before Rosaline (Estelle Kohler). Behind her is the Princess, played by Susan Fleetwood and her ladies

His contribution has been recognised by his appointment as Honorary Associate Artist of the Company. As well as working with the RSC, O’Brien and Firth designed many important productions including the enormously successful musical Evita.

His designs can be distinguished by his use of intense colour in the costumes and the use of flowing, sensual fabrics in both costume and set. O’Brien was born in India, which may have influenced his use of fabric. These subtly set the mood, rather than adding architectural elements, leaving the stage free for the actors to work on.

The set for Love's Labour's Lost 1973 including the silk canopy

The set for Love’s Labour’s Lost 1973 including the silk canopy

This can be seen in the 1973 Love’s Labour’s Lost where the major scenic element was a large printed silk canopy hung above the stage, and the ladies costumes were delicately printed with leaf motifs. The lighting added to the effect of a summery  outdoor glade in which the comedy played out. The photographs, particularly that showing the whole stage, demonstrates the sort of delicate effect which O’Brien and Firth were aiming at creating. You can also see the stage floor, suggestive of grassy turf, the wooden seats, and the simple lookout post used by Berowne when he is required by the text to hide in a tree to overhear his friends. The unadorned post ensured that Ian Richardson as Berowne was in full view of the audience. One of the poems read out during this scene perfectly describes the effect of O’Brien and Firth’s designs:
On a day – alack the day!-
Love, who’s month is ever May,
Spied a blossom passing fair
Playing in the wanton air.
Through the velvet leaves the wind,
All unseen can passage find;
That the lover, sick to death,
Wished himself the heaven’s breath. 

Here is a short sound clip of Roger Howells, Head of Stage at the time, talking about the design for this production and the work  of dying the fabrics which was carried out by the late Dorothy Marshall.

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Shakespeare on film: Joss Whedon’s Much Ado

Image from Much Ado

Image from Much Ado

It is I suppose possible that you won’t have heard about the latest Shakespeare film to be released in the US that is due to be screened in the UK from 14 June 2013. Its director is Joss Whedon, best known for directing TV’s Buffy the Vampire Slayer, and, for the big screen, the recently-released blockbuster The Avengers.

His version of Much Ado About Nothing was filmed immediately after he’s finished Avengers, was shot over just two weeks in his own house in Los Angeles, in black and white, with a group of actors he’d worked with before. The filming was kept secret from the media until it was screened at the Toronto International Film Festival late 2012, since when there has been a great deal of media excitement and anticipation. Now it’s been released in the US to amazing reviews, especially considering that it cost almost nothing to make. This is the UK trailer.

Here are links to one of the reviews, and a couple of pieces that have been sparked off by it looking at other great Shakespeare films, here, and here.   And here‘s a nice piece on the film and how it relates to Shakespeare’s play

The most surprising thing to me about this is that films of Much Ado About Nothing are such a rarity. Shakespeare fans will know that it’s one of his best comedies, attracting some of the best actors to play the parts of the sparring lovers Beatrice and Benedick on stage: Simon Russell Beale and Zoe Wanamaker, David Tennant and Catherine Tate, Judi Dench and Donald Sinden, Roger Allam and Susan Fleetwood to name just a few. The screwball comedy where the wisecracking hero and heroine begin hating each other but end up in love is hardly unfamiliar to Hollywood. Whedon, accepting that his film is being acclaimed as one of the most successful of the year so far, gives the credit to Shakespeare: “[Shakespeare is] basically pulling apart the idea of the rom-com…which he is inventing…That, to me, is impressive.”

Emma Thompson and Kenneth Branagh in the film of Much Ado

Emma Thompson and Kenneth Branagh in the film of Much Ado

But the only film version people are likely to be able to compare Whedon’s to is Kenneth Branagh’s  lush version from 1993. Gorgeously set in sun-drenched Tuscany the film boasted an ideal Benedick and Beatrice (Branagh himself and his then-wife Emma Thompson) and an audience-grabbing line-up of American stars including Keanu Reeves and Michael Keaton. The mixture of styles didn’t really work, but the film’s good humour won over critics and audiences alike. The Financial Times encouraged its readers to “get mugged by its magic”. It was a smash hit, grossing $22 million in the US alone, where it was the most successful UK film of the year. Let’s hope that it won’t be so long before someone else has a go at filming this great comic masterpiece.

Juliet and Romeo from the 2013 film

Juliet and Romeo from the 2013 film

More frequently filmed is the great tragic masterpiece of romantic love, Romeo and Juliet. The last major film version of this play was Baz Luhrmann’s Romeo + Juliet, released in 1996, but there are a number of earlier versions that are still rated including West Side Story from 1961 and Franco Zeffirelli’s 1968 film, also made in Italy.  This year a new version is coming out. You can see a clip and get the info here

I can’t leave the subject of Shakespeare on screen without referring to the latest post on the Screenplays blog in which John Wyver comments on a little-known version of another play very much favoured by film-makers, Henry V.

Still from the 1957 Henry V

Still from the 1957 Henry V

Everyone knows the Olivier version, the Branagh version, and the 2012 The Hollow Crown. But in the blog he draws attention to a TV version made in 1957 which may have sparked off the fashion for Shakespeare’s histories on TV. First there was the history cycle An Age of Kings in 1960 with Robert Hardy as Henry, followed by the RSC’s history trilogy The Wars of the Roses, filmed in 1965. The 1957 film starred John Neville, at the time alongside Richard Burton one of the up and coming stars of the English stage, with Neville playing Hamlet at the Old Vic in the same year.

For any of you interested in the minutiae of Shakespeare on screen (including TV and live performances filmed for the archives rather than broadcast), you will find much to enjoy in browsing the British Universities Film and Video Council’s wonderful database which includes a whole section on Shakespeare.

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Travelling to Scotland: Ben Jonson and John Taylor’s journeys on foot

NPG 2752; Benjamin Jonson by Abraham van BlyenberchMany Shakespeare enthusiasts will know that Ben Jonson visited Scotland in 1618-19, after Shakespeare’s death. His aim was to visit some of his friends, and he spent Christmas with a poet, William Drummond, the Laird of Hawthornden, who recorded some of their conversations, in particular his comments about Shakespeare. It is from Drummond’s notes that we find out Jonson reckoned “Shakespeare wanted (ie lacked) art”, compared with the classical poet Horace and complained about his lack of regard for accuracy: “Shakespeare in a play brought in a number of men saying they had suffered shipwreck in Bohemia, where there is no sea by some hundred miles”.

William Drummond

William Drummond

So much for Drummond’s notes, but until recently we have had no account of the journey itself. Jonson had written in up in 1619, but the manuscript was destroyed in a fire before it could be printed. All the details: his route, his stopping-off points, the people he met, all have been unknown. But in 2009 James Loxley of the University of Edinburgh discovered a document in the Chester Archives which turned out to be an account of the journey by Jonson’s companion. Nobody even knew Jonson had had a companion, and one of the mysteries is that we still don’t know who this person was. Loxley’s blog already has several entries about the discovery of the document that read like a detective novel, and taking place this summer a really interesting event called Ben Jonson’s Walk is to be held online.

From 8 July to 5 October daily tweets and twice-weekly blog posts will contain extracts from the document, linking up with places which were visited by Jonson and his unknown companion. Unusually, the entire journey was undertaken on foot. There’s already a map on the website on which you can check out the route and the places and people who were visited. Progress seems to have been leisurely. Jonson was himself quite a celebrity, much favoured by King James (who had visited Scotland himself the year before). No shrinking violet, Jonson had published his Works in 1616, making his plays, masques and poems even more widely known. Although he sometimes stayed in inns, he often found accommodation with the gentry who were, presumably, happy to have such an interesting guest.

John Taylor

John Taylor

The project website notes that another journey on foot from London to Edinburgh was undertaken at much the same time, by John Taylor the self-styled “King’s Majesty’s Water Poet”. It seems likely that Taylor, a great self-publicist, was jumping on the bandwagon. He set off on 14 July, less than a week after Jonson, also on foot, but with a companion and a horse to carry provisions.  Taylor, though, was “not carrying any money to or fro, neither begging, borrowing, or asking meat, drink, or lodging.” Quite how he managed to travel without money isn’t always clear, but at the end of his trip Taylor published his account as The Penniless Pilgrimage, or the Moneyless Perambulation of John Taylor which names and describes all the places and people he stayed with, so perhaps the promise of a favourable mention was seen as a good enough exchange for free accommodation. The full text is available here.

He wasn’t always lucky: denied a place to stay in Daventry, Taylor slept under the stars in a “field-bed” near Dunsmore, not far from Coventry.
My bed was curtain’d with good wholesome airs,
And being weary, I went up no stairs:
The sky my canopy, bright Phoebe shin’d
Sweet bawling Zephyrus breath’d gentle wind,
In heav’n’s star-chamber I did lodge that night,
Ten thousand stars, me to my bed did light;
There barricadoed with a bank lay we
Below the lofty branches of a tree,
There my bed-fellows and companions were,
My man, my horse, a bull, four cows, two steer.

Jonson’s route took him on the standard way to Scotland, as suggested in William Harrison’s Description of England, towards the east via Newcastle and Berwick-on-Tweed, but Taylor went further west, through Manchester where one John Pinner gave him eight different sorts of ale, and
I lodged at the Eagle and the Child,
Whereas my hostess, (a good ancient woman)
Did entertain me with respect, not common.
She caus’d my linen, shirts, and bands be washed,
And on my way she caus’d me be refreshed.

Taylor’s account isn’t great poetry but it is full of information about travelling the roads of England. We know from Shakespeare this could be dangerous: In Henry IV Part 1, pilgrims going to Canterbury fall prey to Falstaff and his gang. And in The Two Gentlemen of Verona Valentine encounters “the villains that all the travellers do fear so much”. When appointed their leader, though, Valentine makes them swear not to follow the “vile base practices” of carrying out “outrages on silly women or poor passengers”.  For both Jonson and Taylor, travelling humbly on foot may have made them less likely to be targetted by robbers.

John Taylor's Works

John Taylor’s Works

When in Scotland, Taylor records that “at Leith, …I found my long approved and assured good friend Master Benjamin Jonson, at one Master John Stuarts house; …at my taking leave of him, he gave me a piece of gold of two and twenty shillings to drink his health in England.” Taylor returned to England on horseback, and immediately set about publishing his account, which came out before the end of 1618. Jonson would be away for several months yet, and Taylor obviously knew people were critical of his publication: he writes in the foreword:
Many shallow-brained critics, do lay an aspersion on me, that I was set on by others, or that I did undergo this project, either in malice or mocking of Master Ben Jonson.

It’s hard to imagine that Jonson felt any professional jealousy of the much more lowly Taylor, but Jonson was notoriously irritable. The newly-discovered document helps to fill in a few of the gaps. Who knows how many more manuscripts of the period there may be in libraries and archives, still waiting to be identified?

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