Staging The Merchant of Venice

John Nathan’s interesting article raises the old question whether The Merchant of Venice is too offensive to stage.

Henry Irving playing Shylock

I’m pleased that he comes down on the side of continuing to perform it, in spite of the discomfort it might cause to some members of the audience.

Is this just because the play is by Shakespeare, and therefore inviolate? I  don’t think so. Shakespeare never gives audiences or performers any easy answers, and the play contains more than its fair share of scenes questionning how people should behave. Shylock’s extremism is balanced by the humour of another Jew, Tubal. Just about all the Christians behave badly, Gratiano in particular displaying an appalling yobbishness. Even Portia has a racist moment.

 In another play which raises uncomfortable issues, All’s Well That Ends Well, an unnamed Lord puts it like this:

 The web of our life is of a mingled yarn, good and ill together: our virtues would be proud, if our faults whipt them not, and our crimes would despair, if they were not cherish’d by our virtues.

 Audiences leaving any good production of The Merchant of Venice should go home with questions about who’s right and who’s wrong. In our post-holocaust world it’s become difficult to raise the subject of anti-semitism, but Shakespeare allows, even encourages, us to talk about it. And that has to be a good thing.

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The corruption of power

Ian Richardson as Angelo and Estelle Kohler as Isabella in the RSC’s 1970 production of Measure for Measure. Photograph by Tom Holte.

Political corruption was one of Shakespeare’s favourite subjects. You would expect to find it in tragedies like Hamlet and Richard III where power and its abuse are at the heart of the plot, but Shakespeare puts the subject of the corruption of power slap bang into a play categorised as a comedy, Measure for Measure.

Measure for Measure is one of my favourite plays, and I was planning a post about the leading female character, Isabella, when the allegation broke that International Monetary Fund head Dominique Strauss-Kahn was being accused of raping a chambermaid. All of a sudden there was one of Shakespeare’s favourite subject, politics combined with sexual misconduct, in the headlines.

 Covering the story in the Guardian of 16 May, the journalist made the link:

For some, the story of Strauss-Kahn’s fall from presidential hopeful to prison cell was a combination of sordid tale and Shakespearean tragedy.

Like Strauss-Kahn, the Angelo we see at the start of the play has a pretty well unblemished reputation.  He is known to be a man “whose blood is very snow-broth”, but he quickly finds himself overwhelmed by desire for Isabella, a young woman who comes to plead for her brother’s life. Up to this point it’s possible to be quite sympathetic to Angelo. At the beginning of the play his boss, the Duke, has set him up. Instead of doing something himself to enforce the laws regarding social disorder,  the Duke puts Angelo in complete control and announces his intention to leave the city.

 So although he may be severe, we’re not altogether against Angelo. For all we know, after Angelo’s first meeting with Isabella it’s just possible that the play could be about the redeeming power of love.

 By the time of their second meeting, Angelo has done some thinking, and explains the deal to Isabella. Now we find out he’s not at all interested in a relationship, but a grubby transaction: sex in exchange for the lifting of her brother’s death sentence. Isabella threatens to expose Angelo, and in a chilling moment he turns on her:  “Who will believe thee, Isabel? … Say what you can; my false o’erweighs your true”. Angelo, the political animal, “seeming, seeming”, reveals itself.

 Going back to Dominique Strauss-Kahn, it isn’t just the chambermaid’s word that is damaging. A further allegation has been made, of an attack on another woman several years ago, which was reported in a limited way but hushed up. It’s this cover-up which now is causing a major upset, and means that his political career is in tatters, his hope of being France’s next President gone.

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Shakespeare’s many lives

The book jacket for Schoenbaum's book Shakespeare's lives, one of James Shapiro's favourites

It’s said we know next to nothing about Shakespeare’s life, yet new biographies are published every year. Is this because new facts are always being discovered? Sadly not, although every now and then an extra piece is added to the jigsaw – but normally this is a bit of background rather than the main picture.

 In a recent interview, the distinguished scholar James Shapiro listed his five favourite Shakespeare biographies, a genre that he has contributed to himself. Shapiro’s list of suggestions is interesting as he has chosen books which he has found useful sources for biography rather than telling the story chronologically.

 During my work at the Shakespeare Centre Library and Archive I must have been asked hundreds of times to recommend a book about Shakespeare’s life. There’s no simple answer of course. Almost every book written on the subject will be someone’s favourite. Some could almost be classed as fiction, some concentrate on the facts: there is something for everybody here.

 The area that really divides opinion is the period of Shakespeare’s life known as the “lost years”, 1585 to 1592, between the baptism of his twins Hamnet and Judith in Stratford and the first record of him as a player and writer in London, in Greene’s Groatsworth of Wit. When I’m looking at a biography I always check this bit first. Some authors let their imaginations run riot, others list every possibility, some express a favourite, others don’t. I agree with Shapiro that Peter Holland’s essay in the Dictionary of National Biography is admirable (and freely available online to public library users), and Holland wastes no time on the debate:  “Biographers have created fanciful narratives for this period; none have any foundation”, before going on to mention just a couple of the theories.

I was surprised though that Shapiro is so dismissive of what I regard as the best biography of Shakespeare, Samuel Schoenbaum’s William Shakespeare: a Documentary Life. He describes it as “a very dry book – I suppose it’s kind of useful if you’re studying for an exam”, but I consult my dog-eared copy constantly, because I admire Schoenbaum’s reasonable, well-informed voice.

 Originally published as a lavish hardback, with all the documents relating to Shakespeare’s life reproduced at more or less full size, it was later published in paperback as A Compact Documentary Life, and is still in print. In his section on the lost years he considers all the options, from deer-poacher, butcher’s apprentice, schoolmaster, lawyer’s clerk, private tutor and player, before subtly suggesting that his vote goes for the idea that Shakespeare joined the acting company the Queen’s Men when they played at Stratford in 1587.

 Whatever the details, Shakespeare was blown from the country town of his birth to the big city, like Petruchio in The Taming of the Shrew, by

 Such wind as scatters young men through the world
To seek their fortunes farther than at home,
Where small experience grows

 I checked out the biographies in the Shakespeare Bookshop, a wonderful treasure trove of books by and about Shakespeare right opposite Shakespeare’s Birthplace. If you want to buy a book but don’t know what to choose I’d recommend them as they have an excellent range and helpful, knowledgeable staff. Their most popular biography at the moment is Bill Bryson’s Shakespeare, and it is a great basic introduction to the subject written in the authors’s wonderfully readable style. At the other end of the scale, I also like David Bevington’s recent discussion of the history of the books that have been written on the life, Shakespeare and Biography, in the Oxford Shakespeare Topics series.

If you want to read more about this subject, and you happen to be passing through Stratford-upon-Avon, all the books mentioned are available at the Shakespeare Centre Library and Archive, mostly in the Reading Room where they can be taken off the shelf to read.

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Sounds and sweet airs, that give delight

Early guitars on display in the Ashmolean Museum, Oxford

It seems that music, whether being listened to or performed, really is good for you. It was recently reported that musicians have better memories than the rest of us, and playing music may result in higher levels of proficiency in maths and foreign languages. We all know that music can change mood. Scientific research has found that music appeals to the most primitive part of the human brain, the cerebellum, which is responsible for emotion.  The brain breaks down music into different elements: pitch, rhythm, melody, harmony, tempo and metre. When language, in the form of words, is added, the meaning of the words is processed at a higher level by the cerebral cortex.

But hold on a bit. Pitch, rhythm, tempo, metre…. Aren’t all these features of poetry? Isn’t it possible that listening to poetry can affect the brain in the same way as listening to music, using that primitive, emotional part of our brains? This website explains the ideas in layman’s language.

One of the barriers to studying Shakespeare is the concern that the words are difficult to understand. If it’s the musical qualities of poetry that primarily appeal to our emotions perhaps actors, audiences and readers should stop stressing quite so much about intellectual understanding and let the sound wash over them.

I remember hearing Alex Jennings, a wonderful stage actor, talking about performing Hamlet. He didn’t worry that he didn’t understand every word, but concentrated on speaking the verse and let the sound do the work for him. An actor’s voice is his most valuable instrument which, when trained, can produce an infinite range of sound. I can still “hear” the elderly actor Griffith Jones performing the opening speech of Pericles, decades after he did it. After a lifetime of training for stage acting he was able to perform Gower’s speech in a way which sounded completely natural but also musical. I’ve heard the speech performed several times since, but have never heard it delivered so effectively.

Without knowing anything about the cerebellum or cerebral cortex Shakespeare seems to have been aware of the difference between music and language. Caliban, in The Tempest, the most primitive of Shakespeare’s characters, expresses a love of music:

                   The isle is full of noises,
Sounds and sweet airs, that give delight, and hurt not

Language had to be learned:

You taught me language; and my profit on’t
Is, I know how to curse

I was delighted to hear that a symposium is being held in California entitled Where has all the verse gone? Academics have done a huge amount to analyse and investigate Shakespeare from every angle, but sometimes the impact of the poetry on audiences, performers and readers has been overlooked or even dismissed. Paul Edmondson, Head of Learning and Research at the Shakespeare Birthplace Trust is delivering a paper called Shakespeare’s words and music, in which he will explore the musicality of Shakespeare’s language. His post on 12 May explains more about these ideas.

It’s great news that listening to Shakespeare’s poetry being beautifully spoken could be good for the memory. Now, where did I leave my keys?

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Those fabulous frocks

John Singer Sargent's portrait of Ellen Terry as Lady Macbeth

Why are we so fascinated by clothes that have been worn by the rich and famous? Kate Middleton’s wedding dress will attract enormous attraction when it is put on display (probably in Buckingham Palace). We will all admire the fabulous design and craftsmanship, but seeing the dress close up will also somehow make us feel closer to the person who wore it.

 Another iconic dress has recently been returned to public view. Ellen Terry’s costume which was made for her to play Lady Macbeth at the Lyceum Theatre in 1888 is probably the most famous theatre costume in existence.  For many years it has been at Terry’s house at Smallhythe, Kent, but a couple of years ago was taken away for essential conservation. After a £50,000 plus refurb it recently went back on display

 It wasn’t the only spectacular costume made for Terry, but it is easily the most famous. The reason for its fame is that a portrait of Terry wearing it was painted by John Singer Sargent, the finest portrait painter of the day. The painting was so admired that queues of people went to see it when it went on display, only a few of whom would have seen the play in the theatre. The painting remains one of the most popular exhibits at the Tate Gallery in London.

 The dress itself was amazing. In order to make it shimmer under the stage lights 1000 real beetle wings were individually sown onto the dress. Over the years the staff at Smallyhthe have collected the wings as they have dropped off, and wings have been gathered and contributed (the beetles shed their wings naturally so none were harmed).  I went to Smallhythe about a year ago and was disappointed not the see the dress, though I liked the way that the reproduction of the dress was inventively decorated with false fingernails instead of beetle wings! The dress was intended to look like fine chain mail, and the beetle wings gave a metallic sheen. Unlike some of her costumes, the dress was delicately constructed and moved with her. Ellen Terry was noted for her energy and grace of movement on stage, captured in a sketch also by John Singer Sargent and illustrated on the website devoted to his work. The finished painting shows her in a pose which she never actually struck in the play but it successfully illustrated the essence of the performance rather than being an accurate rendering of it, and the dress looks sensational.

 Part of the mythos surrounding the dress relies on the reputation of Terry herself. She was easily the most successful actress of her day, and except for the Queen herself, the most famous woman in the kingdom. She was so loved that she got away with being married three times, having numerous love affairs and two illegitimate children, without being branded a strumpet. A real beauty, a talented actress, with great charm, she was also blessed with a compelling voice. This rare recording gives a flavour of it.
http://www.youtube.com/watch?v=j8ETwca_27E
It’s of a recital of “The quality of mercy” speech from The Merchant of Venice. John Gielgud, her great-nephew, in his book An Actor and his Time, recounts how in her later years, she often performed it at charity matinees.

 Her voluminous correspondence is currently being edited by Katharine Cockin, and her letters will eventually be published in eight volumes. If alive today she would probably be a great tweeter.

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The ups and downs of power

The dancing crown in the Inigo Jones inspired gardens at Arundel Castle

No matter what your political affiliation, you have to feel a bit sorry for Nick Clegg. Only a year ago he was the darling of the electorate.  In the televised debates between the leaders of the three main parties before the 2010 UK general election he made all the running. The recent local government elections and the Alternative Vote referendum though have shown a collapse in the support for the Lib Dems so disastrous there have been calls for him to resign. The fickleness of the electorate would not surprise Shakespeare.

In Richard II, the groom who visits Richard in prison describes how Henry IV, the new king, chooses to ride Richard’s favourite horse, Barbary, in the procession.

Even the horse seems to betray Richard:

 O, how it erned my heart when I beheld,
In London streets that coronation day,
When Bolingbroke rode on roan Barbary!
That horse that thou so often hast bestrid,
That horse that I so carefully have dressed!

 Nick Clegg would empathise with the situation Richard II finds himself in when handing over the English crown to Bolingbroke. Shakespeare makes the scene memorable by having the two men hold the crown, beautifully illustrating the shifting of power from one to another.

 Here, cousin,
On this side, my hand, and on that side, thine…
Now is this golden crown like a deep well
That owes two buckets, filling one another,
The emptier ever dancing in the air,
The other down, unseen, and full of water:
That bucket down, and full of tears, am I,
Drinking my griefs, while you mount up on high.

 This image came to mind when I visited Arundel Castle in Sussex a few days ago. Parts of the castle have withstood over 900 years of turbulent history, but it was in the formal gardens where I found a Shakespearian connection. These gardens were landscaped as recently as 2008, an attempt to reconstruct the early seventeenth century gardens created for Arundel House in London to designs by Inigo Jones. Within the garden is a kind of grotto, a reconstruction of Oberon’s Palace, which formed part of the set for The Masque of Oberon designed by Inigo Jones and written by Shakespeare’s friend Ben Jonson, in 1611. See here for information about these court masques, including a design for this feature.

Inside the grotto is this magical water featurewhere a crown is suspended on a column of water. It’s a wonderfully Shakespearean visual metaphor: a golden crown hovers above a column of water. As it hangs and dances in the air, without any means of support, it revolves. Like Shakespeare’s rising and falling buckets, it’s a spectacular reminder of the ephemerality of power. These were popular features of gardens of the nobility in 17th century Europe, and it’s an image that all politicians of the twenty-first century would be well advised to keep in mind.

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The first draft of history?

A news stand

Over the past week the news has been dominated by the killing of Osama Bin Laden. President Obama must have felt some satisfaction that he’d got an authoritative statement out before it was widely reported on Twitter and Facebook, though this report explains how the story began to break. Since then the handling of this major news story has taken on a life of its own.

 In the days following the President’s statement, and under severe pressure, Washington issued contradictory versions of events. Questions have continued to be asked and there are now demands for full disclosure.

 Veteran journalist Matthew Ingram expressed the difficulty back in February:

If there’s one aspect of the media business that has been disrupted more completely than any other, it’s the whole idea of “breaking news”. Just as television devalued the old front-page newspaper scoop, the web has turned breaking news into something that lasts a matter of minutes — or even seconds — rather than hours.

 Journalism used to be seen as “the first draft of history” but what we’re seeing now is rumours running wild through Twitter. Rumour has always arrived before the official or semi-official version of events. Even in Shakespeare’s time, before the advent of newspapers, it travelled quickly. In Henry IV Part 2, the figure of Rumour, the prologue to the play, is dressed in a gown “painted full of tongues”.

Rumour is a pipe
Blown by surmises, jealousies, conjectures

 Its inaccuracies are heard more loudly than the truth:

Open your ears; for which of you will stop
The vent of hearing when loud Rumour speaks?
I, from the Orient to the drooping West,
Making the wind my post-horse, still unfold
The acts commenced on this ball of earth.
Upon my tongues continual slanders ride,
The which in every language I pronounce,
Stuffing the ears of men with false reports.

 How long will it be before we see a production of the play in which Rumour is represented by people Tweeting on their smartphones?

Even if a full inquiry is held, historians will continue to debate the death of Bin Laden, and  there will never be a single authoritative version. It was easier to arrive at an official version of history in Shakespeare’s day. Publishing was controlled, and although books were becoming more widely available during Queen Elizabeth’s reign, it was relatively easy to ensure that it was the Tudor version of history that was left for posterity. Holinshed’s Chronicles of England, Scotland and Ireland, first published in 1577, then revised in 1587, demonized Richard III, the monarch immediately before Henry VII the first of the Tudors. We now know that Richard was not the embodiment of evil that Shakespeare, following Holinshed’s version of events, portrayed, but Holinshed’s version inspired what was to become Shakespeare’s favourite and most famous villain.

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Cuckoos, cuckolds, and the coming of spring

Photograph of a cuckoo by John N Murphy, http://murfswildlife.blogspot.com/

According to one website, Shakespeare “writes more about birds than any other poet”, with 606 mentions of 64 different species. He certainly names many species, and associates them with feelings, people or events.

 The day before yesterday I heard my first cuckoo of the year. A website check revealed they have been back in this country since April 11. The one I heard was in a wildlife reserve in Sussex, and in spite of having been out in the Warwickshire countryside regularly over the past three weeks, I haven’t heard a single one. Shakespeare notes that in his time they were so common they were “on every tree”, and in Henry IV Part 1 the King warns that his predecessor Richard II   

          was but as the cuckoo is in June,
Heard, not regarded

If they are now difficult to hear, seeing them is really tricky. This reclusiveness, combined with the mystery of their migration, might contribute to the belief that it was lucky to see one, but unlucky to hear the call.

 Cuckoos are one of the few birds whose name comes from its call, and the Latin name too comes from this sound made by males on the lookout for a mate. It’s a bird defined by its call.

The now outdated English word cuckold is also derived from the call. A cuckold was a man whose wife had been unfaithful to him. The folklore associated with the bird relates to its extraordinary habit of laying its egg in the nest of another bird. The cuckoo chick hatches before those of the host bird, and immediately ejects all the other eggs from the nest so that it gets the undivided attention of its adopted parents.

 No wonder that the two-note call of the bird was a symbol of infidelity. A result of this predatory behaviour could be a man raising another’s child as his own. This verse is part of the song of the Owl and the Cuckoo from Shakespeare’s play Love’s Labour’s Lost.

The cuckoo then on every tree
Mocks married men; for thus sings he, “Cuckoo”;
Cuckoo, cuckoo” – O word of fear,
Unpleasing to a married ear

 As usual Shakespeare is an excellent observer of nature. He mentions the cuckoo’s habit of laying its eggs in other birds’ nests, in both The Rape of Lucrece, where “Hateful cuckoos hatch in sparrows nests” and in King Lear:

The hedge-sparrow fed the cuckoo so long,
That it had its head bit off by its young

 The legend that the bird was unlucky goes back long before Shakespeare’s time. Geoffrey Chaucer, in his poem The Cuckoo and the Nightingale, calls the bird “lewd” and “love’s enemy”.

 By the beginning of the nineteenth century, the bird’s image had been transformed. In his poem To the Cuckoo, William Wordsworth wrote:

 O blithe New-comer! I have heard,
I hear thee and rejoice.
O Cuckoo! shall I call thee Bird,
Or but a wandering Voice?

While I am lying on the grass
Thy twofold shout I hear,
From hill to hill it seems to pass,
At once far off, and near.

 Though babbling only to the Vale,
Of sunshine and of flowers,
Thou bringest unto me a tale
Of visionary hours.

 Thrice welcome, darling of the Spring!
Even yet thou art to me
No bird, but an invisible thing,
A voice, a mystery.

If you’re lucky enough to hear or even see a cuckoo this spring, enjoy it!

Update:  On 8am Tuesday 10 May I heard a cuckoo calling loudly from the Greenway overlooking fields at Luddington!

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When shall we three meet again?

A witches sabbath as imagined in a book from 1510

When shall we three meet again?
In thunder, lightning or in rain?

 In a typically fearless decision Michael Boyd, the RSC’s Artistic Director has chosen to open the first brand new production in the newly redeveloped RST without one of the most famous openings in any Shakespeare play –  but then he’s already tempted fate by choosing Macbeth, the play universally associated with disaster.

 As a director, Boyd rarely takes the easy or predictable line, and his production of Macbeth, which casts the three weird sisters, usually known as the witches, as children, plays against not just theatrical tradition but also Shakespeare’s text.

 There’s no such thing as a standard Royal Shakespeare Company approach to staging these days. The theatrical approach is epitomised by Greg Doran, whose Swan production of the play back in 1999 opened with a complete blackout and loud bang (people screamed), before the play began. Boyd’s approach is more cerebral, though he’s not the first to have come up with the idea of casting children in the roles of the weird sisters.

 There have been many different interpretations of the witches, from the old hags described by Shakespeare to beautiful young women and Lady Macbeth lookalikes. For some examples take a look at Warwick University’s Reperforming Performance website’s section on Staging the Witches. Boyd’s production will provide students of the future with much to discuss in their work on the history of Shakespeare on stage.

 And see my video blog on Fuseli’s painting of the Three Witches, owned by the Royal Shakespeare Company made for the 2010 Shakespeare Centre exhibition on Shakespeare’s Women.

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Obama and Shakespeare

President Obama announcing the death of Osama Bin Laden

Watching President Obama make the official statement about the death of Osama Bin Laden, it was impossible not to be reminded of the Earl of Richmond’s speech at the end of Shakespeare’s Richard III. I almost expected him to say “The bloody dog is dead”. Obama, like Richmond and like every politician in circumstances such as these, talked about justice having been done, the need to heal wounds, and voiced the hope that a lasting resolution may have been reached. Richmond’s “God say Amen” found a close echo in Obama’s “May God bless the United States of America”

 Shakespeare was writing about many decades of civil unrest that took place on English soil, but modern international terrorism has resulted in the deaths of thousands of citizens of all countries and all faiths. The result of these conflicts is the same:

The brother blindly shed the brother’s blood;
The father rashly slaughter’d his own son;
The son, compell’d, been butcher to the sire.

The story of Richard III was the finale in Shakespeare’s line of history plays – he ended the play diplomatically predicting that under Richmond, as King Henry VII, peace would follow. In fact he founded a political dynasty which culminated in the reign of his grand-daughter Elizabeth I, during which Shakespeare wrote his eight great plays documenting the Wars of the Roses. The central theme of these plays is the cyclical nature of history. One unjust ruler is deposed, to be replaced by another who is quickly vehemently opposed. Another uprising follows and is put down, to be followed by another more successful coup, and so it goes on from the reign of Richard II right up to Richard III. Hoping for a period of peace Richmond prays:

 Abate the edge of traitors, gracious Lord,
That would reduce these bloody days again.

Tonight, another of Shakespeare’s political plays, Macbeth, is being performed at the Royal Shakespeare Theatre in Stratford-upon-Avon. At the climax of the play Macduff, a man whose family have been slaughtered on the commands of the tyrant Macbeth, leads the raid to kill him in his castle stronghold. Tonight of all nights, the audience watching this performance will be in no doubt of Shakespeare’s continuing relevance.

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