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Originally launched on the day that marked the 450th anniversary of William Shakespeare's birth, Shakespeare Magazine is a completely free online magazine for anyone interested in the English language's greatest-ever wordsmith.

Originally launched on the day that marked the 450th anniversary of William Shakespeare's birth, Shakespeare Magazine is a completely free online magazine for anyone interested in the English language's greatest-ever wordsmith.

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At last! A magazine with all the Will in the world

SHAKESPEARE


Celebrating

450 years of the

English language’s

greatest-ever

wordsmith


Launch issue


Welcome

Welcome

Photo: David Hammonds

to the first issue of Shakespeare Magazine

Back in my teenage years, I was a bit of a Shakespeare

fan. Doing an English degree at Oxford, however,

was enough to firmly put me off literature for more

than two decades. But I could never quite shake

off my fascination for Shakespeare, and last year I

found myself attempting for the first time to read the

Complete Works.

It was a defining, exhilarating, life-changing experience, one which

also felt like a personal achievement – similar, I’d imagine, to climbing

a mountain or running your first marathon.

As a journalist, I instinctively looked for a magazine to enhance

my rekindled love of the Bard. And I was stunned to discover that

there wasn’t one.

So 12 months later, here I am with the very first issue of

Shakespeare Magazine, built from scratch by myself and Art Editor

Paul McIntyre, along with a team of contributors who have been

amazingly generous with their time and talent.

Shakespeare Magazine is free to absolutely anyone in the world

– although it would certainly help if you understand English, have

internet access and are interested in Shakespeare.

I’m thrilled to be launching Shakespeare Magazine in the week we

celebrate 450 years since the birth of the man himself. It’s yet another

testament to the enduring power and magic of his words.

I hasten to add that I’m absolutely not a Shakespeare expert or

any kind of authority. I’m just a humble journalist embarking on a

journey with Shakespeare. And you’re very warmly invited to join me.

Enjoy your magazine.

Pat Reid, Founder & Editor

SHAKESPEARE magazine 3


At last! A magazine with all the Will in the world

SHAKESPEARE


Celebrating

450 years of the

English language’s

greatest-ever

wordsmith


Contents

Launch issue

Shakespeare Magazine

Issue One

23 April 2014

Founder & Editor

Pat Reid

Art Editor

Paul McIntyre

Advertising Manager

Helen Forsyth

Writers

Robin Askew

Zoe Bramley

Andrew Bretz

Koel Chatterjee

Emma Gutteridge

Lisa Houston

Naomi Lord

Kate Madison

Samantha Mann

Helen Mears

Tom Phillips

Brooke Thomas

Daniela Verdejo

Photography

David Hammonds

Gavin Roberts

Ceramic Art

Hannah Tribe

Cover

Engraving by Martin Droeshout,

1623

Thank You

Richard Forsyth

Guy Radcliffe

Laura Pachkowski

Mrs Mary Reid

Thomas Xavier Reid

Contact Us

shakespearemag@outlook.com

Twitter

@UKShakespeare

Coming Soon

www.shakespearemagazine.com

Game of crowns 10

How Hollow Crown Fans made Shakespeare a Twitter phenomenon.

Shakespeare

news 6

What’s shaking in the world of

Shakespeare.



Exclusive

competition 19

This unique and beautiful

handcrafted Shakespeare swan

is up for grabs.


4 SHAKESPEARE magazine


Contents

Once upon a time

in the west 20

How Bristol became a hotbed of



Slaughtering

Shakespeare 28

Jessica Lange, Anthony Hopkins

and the most shocking Shakespeare



Beyond the

bloodbath 32


of Titus Andronicus.


Bollywood

shakes! 34

The century-long romance of


William Shakespeare.


All the world’s

a... screen 38

Shakespeare authority




Around the

Globe in a day 42

All in a day’s work at

Shakespeare’s Globe.


SHAKESPEARE magazine 5


News

SHAKESPEARE

N ews

“All the world’s a stage / And all the men and women merely players”

OPENING SCENE

Oh, Verona!

The Arena di Verona Opera Festival: clearly the place

to be for opera buffs with a taste for Shakespeare.

Running from 20 June to 7 September,

the Festival’s highlights include

productions of Carmen, Turandot

and

Romeo

and Juliet


Roméo et Juliette is staged, with



Tickets from www.arena.it or email

biglietteria@arenadiverona.it

6 SHAKESPEARE magazine


News

Strike a Pose

Bolton school's stylish R&J is

inspired by Madonna's 'Vogue'.

Last month, Bolton School staged

Romeo and

Juliet with Zack Howarth and




the concept of the battling houses of

Montague and Capulet.

Next up for the school’s Shakespeare

450 celebrations is a festival presenting


out too for an unpcoming production

of Christopher Marlowe’s Dr. Faustus,



www.boltonschool.org

Twitter @drama_bsbd




The Day The Globe Caught Fire

Dancer Roberto

Bolle returns to the


City of London Tour Guide

Zoe Bramley reports from the

Shakespeare Trail.

The first Globe theatre was situated

a few hundred yards from today’s

replica and was built in 1599. There’s

some disagreement as to which play was

first performed there – Henry V? Julius

Caesar? But we know for sure which play was

performed on the day it burned down.

It was 29 June 1616. Inside the

Globe, the groundlings – or “penny

stinkards” – stood blinking in the afternoon

sun, enthralled by the action on stage. The

King’s Men were performing Henry VIII,

Shakespeare’s latest, and the house was packed.

As the play progressed, and Henry VIII

entered Cardinal Wolsey’s house, a cannon

was fired in honour of the legendary king.

So thrilling was the spectacle that no-one

noticed a stray spark land in the thatched

roof. And when it began to smoulder, it was

thought “but an idle smoak.” According to

our eye witness Henry Wotton, the audience

had “eyes more attentive to the show”, so “it

kindled inwardly and ran around like a train,

consuming within less than an hour the whole

house to the very ground.”

Happily, the only thing hurt was one

man’s pride when his breeches caught fire and

had to be extinguished with a bottle

of beer.

In 1989, the site of the Globe was explored

by archaeologists from the Museum of London

who discovered signs of charring above the

foundations. Fire was an everyday hazard in

the 17th Century, and thatched roofs were

finally banned after the Great Fire of 1666

which devoured the medieval city. Today’s

Globe theatre is the first London building to be

permitted a thatched roof since then.

Twitter: @shakespearewalk

SHAKESPEARE magazine 7


News

Back to school

with Shakespeare

Inspired by the RSC’s ‘Stand up for Shakespeare

approach, teacher Helen Mears shares her essential

Dos and Don’ts for teaching the Bard.

DON’T speak about Shakespeare

in hushed, reverent tones. He was

a merchant’s son from small-town

Stratford-upon-Avon. He didn’t go

to university. He was educated by

the English grammar school system.

He was of the people and he is for

the people.

DON’T let your students be afraid

of the language. Ninety-five percent

of the words Shakespeare used are

still in use today. The rest can be

looked up in a good glossary or else

gleaned from speaking them and

looking at them in context.

DON’T be afraid that you can

introduce Shakespeare too early.

Young children are used to archaicsounding

language in the form of

nursery rhymes and fairy tales. They

will enjoy the rhythm and rhyme,

particularly that of the faeries and

witches in the plays.

DON’T simply sit at the desks and

read. The language is there to be

explored. Look at punctuation, prose

and verse, variations in the iambic

rhythm. Think about where they are

used and why. What do they tell us

about the characters?

DON’T say “I know this is boring but

we have to”. Talk about Elizabethan

England – the plague, bear-baiting,

castles, stately homes. Tell them about

the Reformation and the power

of kings and queens. Explain why

Shakespeare had to be so careful about

what he wrote.

DO see the play – a live production,

recorded, film or television – however

you can. Avoid those hammy Olivierera

films. Received pronunciation

didn’t exist in Shakespeare’s England

and William himself would have

spoken with a broad regional accent.

Remember, he’s for everyone.

DO ensure your students know and

understand the story of the play they

are studying. Show them the whole

story and get them to summarise it as

a tweet, a fairy story, a rap. Then you

can begin to work on smaller, edited

extracts of the text.

DO move away from the desks.

Shakespeare’s works are play texts,

so treat them as plays. Say the words

aloud, start in groups and select key

words from the speech or scene, and

use gesture to reinforce the meaning of

those words.

DO get to know the characters

really well. Play ranking and sorting

games – who is the most important,

the least? Make character Facebook

pages, explore their relationships,

emotions and motivations.

Characters are the heart and soul of

every Shakespeare play.

DO let your students find their own

meanings. It doesn’t matter what crusty

old critics have said, how do the plays

resonate today? Explore the universal

themes that drive the plays – love, hate,

revenge, friendship, ambition. Ask your

students what would they do in the

same situation?


www.rsc.org.uk/sufs/

The Shakespeare Magazine Quiz

To celebrate the Bard's 450th birthday, our debut quiz is inspired

by the “uncertain glory” of the month of April itself...

1Shakespeare’s

birthdate is

unknown, but thought

to be 23 April. On



christened at Stratford-



2

Shakespeare also

died on 23 April – in




“Blessed be the man

that spares these

stones…”

3In his will,

Shakespeare


“second-best bed”

to his wife Anne. The

document is also

famous for containing

three of the existing six


4From which

Shakespeare


character, does this


“O, how this spring of

love resembleth / The



5Shakespeare’s





his troops with these




Answers: 1) 26 April, 2) “And curst be he that moves my bones”, 3) Shakespeare’s signature, 4) The Two Gentlemen of Verona (Proteus, Act 1, Scene 3), 5) Harfleur

8 SHAKESPEARE magazine


News

A dressing

room revelation

for the cast

(Lili Fuller and

Joe Sofranco,

far right).

Pauline (Lili

Fuller) channels


Works in Progress

Hot new US show Complete

Works could do for Shakespeare

what Pitch Perfect did for acapella.

Back in 2004, Joe Sofranco beat 16,000

competitors to win the National Shakespeare

Competition in New York. Ten years later,

he has a company named Kingdom For a Horse

Productions and he’s the writer, co-director and star

of Complete Works, a Shakespeare-themed comedy

launching on the Bard’s 450th birthday.

Joe plays an aspiring, Shakespeare-obsessed actor

named Hal, who sounds suspiciously like a younger

version of himself. Three years in the making,

the show is set in the surprisingly cut-throat

world of theatre geeks and collegiate Shakespeare

competitions.

“This was such a labour of love,” says Executive

Producer Lili Fuller, who also plays the character of

Pauline. “It stemmed from our shared passion for

theatre and Shakespeare. The three of us are theatre

geeks, and our community is full of crazy, hilarious

people.”

With shades of Mean Girls and Pitch Perfect

– not to mention cult mockumentary Waiting for

Guffman – Complete Works just might be the TV

comedy the Bard's fans have been waiting for.

Complete Works is screening at

hulu.com/complete-works

SHAKESPEARE magazine 9


The Hollow Crown

British acting

heavyweight

Jeremy Irons

as Henry IV.

Game

of

Crowns

10 SHAKESPEARE magazine


The Hollow Crown

Shakespeare is for everyone, no

matter your age, native language

or level of education. We try to

show that Shakespeare can be a

part of pop culture”

Hollow Crown Fans

Twitter phenomenon

Hollow Crown Fans

launched the hugely

popular Shakespeare

Sunday onto a Bardhungry

internet. We

tracked down founders

Lis and Rose for an

illuminating chat about all

things Shakespeare...


SHAKESPEARE magazine 11


The Hollow Crown

ith disarming modesty, Lis and Rose of Hollow

Crown Fans describe themselves as “two admins

who are both Shakespeare enthusiasts”. They’re a

transatlantic duo – Rose is from the UK, while Lis

hails from the USA. They first met on Twitter during

“the infamous Wimbledon delay” of 7 July 2012.

This was the occasion when the BBC’s broadcast of

The Hollow Crown: Henry IV Part 1 was held up

by the trifling matter of a sporting event in London

SW19. “If it hadn’t been for tennis,” they say, “we

may have never met.” Rose also had a personal stake

in The Hollow Crown, having appeared as an extra

in THC: Henry V, which starred Tom Hiddleston:

“So you could say we were very early adopters of

the series...”

Joe Armstrong as

Hotspur in Henry IV

Part 1.

12 SHAKESPEARE magazine


The Hollow Crown

Ben Whishaw as the

divinely decadent

Richard II.

How did you get interested in

Shakespeare?

Lis: “I come from a family that really values

and appreciates poetry so Shakespeare was

introduced early on. I fell in love with

Sonnet 30 as young teenager and began

to explore the rest of his work. I became

interested in Shakespeare in its theatre form

after seeing Ralph Fiennes play Hamlet on

Broadway. That made a huge impression on

me and I was forever drawn to Shakespeare

productions on screen and stage thereafter.”

Rose: “I’ve had an interest in Shakespeare

from a very early age thanks to my parents

and the BBC’s fantastic animated tales series

(1992). I think what really made me fall in

love with the language was studying Romeo

and Juliet in school during the same year Baz

Luhrmann’s film was released, 1996. It all

seemed to click!”


about The Hollow Crown?

Lis: “I love the History plays and was

keenly interested in new adaptations of

them, especially given the dream cast across

the tetralogy. Richard II in particular came

“We have young students

following us and top

academics, actors, producers,

media professionals, and top

Shakespeare institutions”

Hollow Crown Fans

alive in a way the text never did for me upon

reading. That’s when I realised how powerful

Shakespeare could be, even with the perceived

limitations of television. I’d been used to

seeing Shakespeare on Broadway and in

regional theatre and big films like Kenneth

Branagh’s Henry V. The quality of these epic

productions for the small screen drew me in.”

Rose: “I was lucky enough to have been cast

as an extra in The Hollow Crown: Henry V.

I love Shakespeare and history, but it was the

mention of Tom Hiddleston that gave me

courage to take the plunge and give it a go.

“As a result I was already physically and

emotionally invested in the series from

as early as winter 2011! It was so exciting

following Tom Hiddleston’s tweets from the

battlefield and beyond during the filming

process. Some of the locations I had visited

on holiday or were local to me, which was an

added aspect of interest in seeing this series.

To have been involved, be it a very small part,

is something I shall never forget.

SHAKESPEARE magazine 13


The Hollow Crown

“I love Shakespeare and history, but it was the

mention of Tom Hiddleston that gave me courage to

take the plunge and give it a go” Rose

“Before watching THC, I must confess the

history plays never appealed to me, I much

preferred the comedies and tragedies! The

Hollow Crown opened my eyes to these plays

and beyond. The fantastic casting did much to

hook me initially, along with visual feast of the

costumes and film locations used.”

What made you take to Twitter,

and can you describe how your

following grew?

HCF: “We started out to promote a petition

to the BBC to release a commemorative book

of photographs that were taken during the

filming of The Hollow Crown. Initially we

tried to create interesting content so people

would follow us and therefore sign the

petition. Since then our scope has changed

to reinforce our core beliefs that Shakespeare

is for everyone, no matter your age, native

language or level of education. We try to

show, on a daily basis, that Shakespeare can

be a part of pop culture.

“As we’ve introduced art and writing

contests, interactive activities, promoting

news about the cast and Shakespeare, and of

course #ShakespeareSunday we’ve steadily

grown in numbers but also in the diversity

14 SHAKESPEARE magazine


The Hollow Crown

Tom Hiddleston as

Henry V (left) and

David Morrissey as

Northumberland

(above).

of our followers. We have young students

following us and top academics, actors,

producers, media professionals, and top

Shakespeare institutions. We’re proud of

our diversity but also with how engaged our

followers are with us every day.”

How did you come up with the

idea for the phenomenally popular

#ShakespeareSunday?

HCF: “We loved quoting scenes from The

Hollow Crown and we’d periodically ask

“what’s your favorite quote from...” Then one

Sunday in October 2012, we thought we’d

expand that activity and give the hashtag

#ShakespeareSunday a try and see if people

liked it. The response to it has been nothing

short of incredible.”

Can you share some of your

favourite moments, tweets or

stories from Hollow Crown Fans

around the world?

HCF: “Favourite moments tend to centre

around the activities we’ve done with the

community. We ran an art contest in 2012

and it was amazing to see the work of so

many talented artists coming in. We did a

Cento Poetry competition that was judged

by The Shakespeare Institute, and again the

creativity of our followers was inspiring.

“Probably the greatest tweet was from

James Purefoy, who played Mowbray in

Richard II. He had tweeted he was on a

transatlantic flight and so we asked him to

quote some Shakespeare from the air and he

responded with one from The Tempest: ‘The

cloud-capp’d tow’rs, the gorgeous palaces, The

solemn temples, the great globe itself...’ which

was simply perfect in context.”

“Undeniably one of our favourite

SHAKESPEARE magazine 15


The Hollow Crown

moments came from a PBS interview Tom

Hiddleston did where he spent time talking

about our account and #ShakespeareSunday.

Getting support from the star of the series, as

well as a prominent television network like

PBS, is a great feeling.”

Was The Hollow Crown

responsible for the rise of

Tom Hiddleston – or was Tom

Hiddleston responsible for the

success of The Hollow Crown?

HCF: “Tom Hiddleston was already making

waves as Loki in the Marvel films, but

perhaps The Hollow Crown showed a mass

audience how adept he is at performing and

leading an audience through Shakespeare.

The Hollow Crown had a tremendous cast

of new talent as well as legends – it would

be a mistake to chalk up the success of The

Hollow Crown to any one actor. To be frank,

David Dawson as

Poins (left) with Tom

Hiddleston’s Hal.

Shakespeare is what made it successful. We

track mentions on Twitter and Shakespeare

outruns mentions of any of the actors by 10-

20 times the rate!”

Apart from the obvious big names,

who are some of your favourite

characters and actors from The

Hollow Crown?

Lis: “The supporting actor that really

stood out for me was David Morrissey as

Northumberland in Richard II. I can only

describe him as completely badass. His role

and lines were appropriate for the historical

setting Shakespeare wrote for, but David

made the political role modern and fresh with

the right balance of edginess and gravitas.

“As for favourite character, I really enjoyed

how David Dawson brought Poins to life. I

thought he and Tom Hiddleston had great

chemistry together and provided a lot of

levity that stood up well against the wellknown

humour between Hal and Falstaff.

They made me want to head off to Boar’s

Head Tavern for a few cups of sack!”

Rose: “Two names I have to mention

here. Firstly, Edward Akrout – the ‘dashing’

Dauphin in Henry V. He gave a wonderful

performance in a role that was rather edited

down from the original version of the play. I

felt he gave the Dauphin more than just the

‘bad guy’ image one would originally expect

in the role – and by the end might dare to

confess even feeling some sympathy it hadn’t

gone to plan at Agincourt!

“Joe Armstrong as Harry Percy (Hotspur)

in Henry IV Part 1 was another key favourite

character and actor in the series. I had long

been a fan of his father, Alun Armstrong, and

was delighted that they were cast as father and

son in The Hollow Crown!

“Not only did they naturally work

“The supporting actor that really stood out for me was

David Morrissey as Northumberland in Richard II.

I can only describe him as completely badass” Lis

16 SHAKESPEARE magazine


The Hollow Crown

Edward Akrout cuts a dash

as the Dauphin.

brilliantly together, but Joe matched up to the

likes of Jeremy Irons, Tom Hiddleston and

Michelle Dockery fantastically. By the end of

this episode you were half torn with sadness

that the light Joe shone to this character was

extinguished by Prince Hal.”

What are your thoughts on

Hollow Crown 2?

Lis: “I could not be more excited - and

still a bit shocked - that a second series was

announced, as the first series was reportedly

disappointing in ratings. But I’m ecstatic that

once again the BBC will bring lesser-known

plays to the small screen, and ideally find

that balance between making it appealing

to the masses and detailed enough for the

already converted. The casting of Benedict

Cumberbatch in Richard III seems to indicate

that’s the approach they plan to take.”

Rose: “I am still in a complete state of

happiness that there is a second series! We

knew how much the first was loved by people

and, thanks to the internet, how global this

was. But realistically, the viewing figures in

2012 were not as high as we had hoped, let

alone the BBC’s expectations.

“When The White Queen aired on the

BBC earlier this year, we had fun pairing up

quotes from Henry VI and Richard III to

various images, and discussed how much we

wished THC could have had a second series!

“Philippa Gregory’s novels, along with the

recent discovery of Richard III’s body, have

brought this period of history more into the

public eye and shown there is a wide interest

and demand for this material.

“The War of the Roses accompanied with

Shakespeare during the 450th anniversary of

his birth seems the perfect combination right

now and we expect only great things from

The Hollow Crown series 2!”


Find Hollow Crown Fans on Twitter:

@HollowCrownFans

SHAKESPEARE magazine 17


Win

EXCLUSIVE COMPETITION

To celebrate the 450th anniversary of Shakespeare’s birth on

23 April 1564, we have commissioned this beautiful and entirely

original ceramic work from artist Hannah Tribe.

Titled ‘Sweet Swan of Avon’, it will make a uniquely perfect

centrepiece to the writing desk of any Shakespeare fan.

Photo: David Hammonds

To be in with a chance of winning our lovely swan, simply send an email to

shakespearemag@outlook.com with ‘Swan Comp’ in the subject line.

Don’t forget to include your name, address, postcode and contact number.

We will accept entries from outside the UK, but please be sure to include full

contact details.

The closing date for this competition is Monday 26 May

– and may fortune favour you!

“This sculpture combines references to characters from

Shakespeare’s life, both real and imagined”

SHAKESPEARE magazine 19


Shakespeare city: Bristol

ONCE UPON A

TIME IN THE WEST

20 SHAKESPEARE magazine


Shakespeare city: Bristol

Main image: Clifton

Suspension Bridge is

Bristol’s most iconic

landmark.

Right: Shakespeare

Inn, Victoria Street.

Local poet and

playwright

Tom Phillips

takes us on a

Shakespeare-


tour of the city

of Bristol.


SHAKESPEARE magazine 21


Shakespeare city: Bristol

“Peter O’Toole’s 1955 performance

as Hamlet at Bristol Old Vic is the

stuff of legend”

Photos: Alan Moore, Gavin Roberts

The Shakespeare

pub, Redland.

22 SHAKESPEARE magazine


Shakespeare city: Bristol

Shakespeare at the Tobacco Factory’s 2000

production of King Lear: Roland Oliver as Lear

(below) and Paul Nicholson as the Fool (below, right).

Amuch-loved, but often-overlooked city

in the South-West of England, Bristol

makes no claims to have any particular

connection with the living, breathing

William Shakespeare. There are a few

passing mentions of the city in Henry IV pts 1 & 2

and Richard II – mostly in connection with troop

movements and ‘the caterpillars of the commonwealth’

who rebel against the monarchy – but it wasn’t a

particularly prominent feature on Shakespeare’s

imaginary map of England.

The playwright’s posthumous presence,

however, looms large. Maybe that’s because,

having passed through Stratford, the river

Avon snakes through the city, runs under

Clifton Suspension Bridge and out to the

Bristol Channel. You might say, in fact, that

the river plugs the city into the Shakespearean

heartland.

A rather less fanciful explanation, perhaps,

is that Bristol has a long and eminent

theatre tradition and, not surprisingly,

productions of Shakespeare’s plays have been

a prominent part of that. Peter O’Toole’s

1955 performance as Hamlet at Bristol Old

Vic is the stuff of legend while the same

theatre’s 1997 production of Macbeth with

Pete Postlethwaite as the eponymous Scottish

king saw the professional stage debut of one

Chiwetel Ejiofor (as Malcolm).

More recently, the city has also gained an

annual Bristol Shakespeare Festival – with

many a production staged outdoors or in

unlikely venues – and the simultaneously

acclaimed and popular Shakespeare at the

Tobacco Factory.

The brainchild of Bristol-based director

Andrew Hilton, the latter began life a few

weeks after the millennium, when it opened

with King Lear. On the face of it, it was

absurdly ambitious: a full-cast production of

the bleakest tragedy staged in a rough-andready

space on the first floor of a stripped-out

factory building in what was then a fairly

rundown part of south Bristol.

On press night, not more than a dozen

people showed up. Only two of us were

journalists. Of the rest, at least three or more

members of the audience appeared to have

wandered into the place by accident and had

only stayed because it was marginally warmer

than the street outside. We spread ourselves

out in the auditorium in a desperate attempt

SHAKESPEARE magazine 23


Shakespeare city: Bristol

to make it look full. Then the play started.

From the outset, it was obvious that this

was no ordinary production. Lines which had

been dunned into me in A-level English until

they’d lost all their poetry were leaping off

the page as if nobody had ever spoken them

before.

Even relatively minor characters were

emerging as fully rounded individuals with a

life which went way beyond their usefulness

as plot devices. Without a hint of gimmickry,

without any attempt to be trendily cutting

edge by, say, relocating the entire play to a

supermarket in war-torn Bosnia, this was a

production which put its trust in the text and

mined it for every nuance, every ambiguity.

The result was extraordinary. By the time

Lear was railing against Cordelia’s ingratitude,

even the people who’d not really meant to

come and see a Shakespeare play at all were

sitting bolt upright. By the time of the king’s

expulsion onto the heath, they were on the

edge of their seats. Even the sword fight

between Edgar and Edmund looked as if it

might go either way.

That same week, apparently, Hilton

Great British

Shakespeare

venue: Tobacco

Factory.

“Even the sword fight between Edgar and

Edmund looked as if it might go either way”

considered pulling the plug on the whole

venture. The company was operating on the

narrowest of margins and ticket sales were

appalling. It seemed that Bristol didn’t have

an appetite for yet more Shakespeare after all.

Thankfully, he didn’t – because, as word

began to spread and reviews began to appear,

the city woke up to the fact that something

unique was going on and by the last week of

the month-long run you couldn’t get a ticket

for love nor money. The production of A

Midsummer Night’s Dream which followed

ploughed the same back-to-basics furrow and

fared equally well.

More than aware that too early an

exposure to Shakespeare can lead to a lifelong

aversion, I took my six-year-old daughter to

see it. She spent most of the in-the-round

performance lying full-length on the very

edge of the ‘stage’, enthralled by the antics of

Puck, Bottom, Helena and Hermia. While

we were walking home, she announced that

she wanted to be an actress. Fifteen years

later, she’s about to graduate with a degree in

performing arts.

Shakespeare at the Tobacco Factory,

meanwhile, have gone from strength to

strength. Aside from an ill-fated production

of Titus Andronicus which nearly bankrupted

the company, they’ve enjoyed unparalleled

success, earned themselves a reputation as

a sort of West Country-based RSC and

given dozens of young actors a leg-up in the

perilous early stages of their career, most

recently with their second take on As You

Like It. What’s more, while they might not

have kickstarted the regeneration of south

Bristol, their popularity hasn’t done anything

to harm it.

Exactly how finely honed productions of

Shakespeare might benefit a neighbourhood’s

local economy is a question that’s yet to

be answered, but it certainly feels as if

there’s some kind of connection between

renegotiating Hamlet’s soliloquies and the

24 SHAKESPEARE magazine


Shakespeare city: Bristol

“The city’s longest-running pub is, of course, called

The Shakespeare Tavern, having opened in 1777”

reinvigoration of the local high street.

Walk down Prince Street towards Bristol

docks, meanwhile, and you’ll come across the

city’s longest-running pub. It is, of course,

called The Shakespeare Tavern and, having

opened in 1777, it reputedly took its name

because Shakespeare was very much on the

menu at the nearby Theatre Royal (i.e. Bristol

Old Vic). In here, last summer, you might

have encountered an ad-hoc pub performance

for Bristol Shakespeare Festival. Over the bar,

you might also have noticed a quotation from

Merry Wives of Windsor.

In here too you might also have spotted

someone sitting at a long wooden table with

a copy of the Sonnets open beside his pint

of Guinness. That was me preparing for

another typically quirky BSF performance:

Shakespeare Sonnet Russian Roulette, in

which audience members shout out numbers

from one to 154 and I do sight-read requests.

I don’t think I’ve ever been more terrified

in my life, but it’s a mark of the poetry’s

greatness that its meaning is there, ready and

waiting – no matter who reads it. All you

have to do is look.


Roland Oliver

as Bottom in A

Midsummer Night’s

Dream (Tobacco

Factory, 2000).

Could you write a Shakespeare Guide to your

favourite city? Get in touch:

shakespearemag@outlook.com

Shakespeare Tavern,

Prince Street.

SHAKESPEARE magazine 25


Titus Andronicus

Saturninus

(Alan Cumming)

oversees his evil

empire in Titus.

28 SHAKESPEARE magazine


Titus Andronicus

She wound up doing The Lion King and Spider-Man on Broadway. But 15 years


Shakespeare’s Titus Andronicus. Here’s what Robin Askew reckoned at the time...

Titus (18)

USA 1999 /162 minutes

Director: Julie Taymor

Cast: Anthony Hopkins, Jessica Lange,

Alan Cumming, Harry Lennix, Colm Feore,

Jonathan Rhys Meyers, Angus Macfadyen,

Laura Fraser

It’ll be too baroque, violent

and – whisper it! – funny

for those who prefer their

Shakespeare luvvie-cosy,

but Julie Taymor’s brave,

visually stunning re-imagining of

this little-known vengeance yarn

is an absolute vindication of her

contention that it’s an overlooked

masterpiece brimming with

contemporary resonance – and a

real treat for those who prefer the

Bard’s earlier, gorier ones.

Much has been written about the way

our appreciation of Shakespeare in general,

and Titus Andronicus in particular, is viewed

through the prism of Victorian criticism, with

all its attendant moral baggage. The brilliance

of Taymor’s version is that it recaptures the

spirit of old Bill’s biggest crowd-pleaser,

which entails the increasingly unpleasant

deaths of virtually all of its principals in a

cycle of vengeance that redeems nobody, with

an ugly side-order of sexual abuse, racism and

religiously inspired atrocity.


SHAKESPEARE magazine 29


Titus Andronicus

How

Bull-headed and

borderline insane:

Anthony Hopkins

as Titus.

much more modern relevance do you

want? Anthony Hopkins, on top form, is

the eponymous granite-hewn, bull-headed

warrior who returns to Rome in triumph after

an extended bout of blood-letting, bearing

Tamora, Queen of the Goths (Lange), her

three sons and “barbarous Moor” Aaron

(Lennix) as his prisoners.

Religious tradition requires a sacrifice, so

the eldest son gets to be torn limb from limb,

his giblets sizzled over an open fire, earning

Titus the undying enmity of the warrior

queen. But his first mistake is in pledging

fealty to weak and effete new emperor

Saturninus (Cumming), who promptly falls

for the exotic and cunning Tamora, giving her

a position of power from which to unleash

the tit-for-tat revenge that will continue until

the climactic time-slice freeze-frame.

Taymor performs wonders in conjuring

such a sumptuous visual feast on a relatively

Shakespeare had a keen appreciation of comic horror

long before the era of The Evil Dead”

30 SHAKESPEARE magazine


“Old Bill’s biggest crowd-pleaser entails the

increasingly unpleasant deaths of virtually

all of its principals”

Titus Andronicus

“Exotic and cunning”

Tamora, played with

sadistic relish by

Jessica Lange.

low budget. From the tremendous, superbly

choreographed opening tableau of an army

of warriors performing a victory ritual in the

Coliseum, the film mixes and matches the

iconography of Ancient Rome, ’30s Italian

fascism and beyond, with every aspect of

the production design and music carefully

thought through, demanding repeated

viewing to appreciate its myriad subtleties.

The violence which is so central to the

story is also explicit only when necessary.

No censor would risk the ridicule of cutting

Shakespeare, but nor can one imagine them

permitting the gleeful rape and mutilation

endured by Titus’s virginal daughter Lavinia

in any other film.

Taymor shows us only what we need to

see, but it’s no less horrific for that. Better yet,

she restores the play’s oft-excised funny lines,

which reveal that Shakespeare had a keen

appreciation of comic horror long before the

era of The Evil Dead.

The performances are uniformly

magnificent, many of the characters

prefiguring in unvarnished form the Bard’s

more famous creations (Titus/Lear, Tamora/

Lady Macbeth, Aaron/Iago), with Harry

Lennix’s unrepentant Aaron – Shakespeare’s

most overt treatment of race, fact fans –

almost stealing it from Hopkins’ borderline

insane Titus.


This review originally appeared in

Venue Magazine.

SHAKESPEARE magazine 31


Titus Andronicus

Beyond

the

bloodbath

Traditionally viewed as the

ultimate victim, Lavinia is the

Titus Andronicus,

writes Emma Gutteridge.

S

2

hakespeare’s earliest and bloodiest tragedy, Titus

Andronicus boasts a dizzying body count. With

14 deaths by the final curtain, not even Hamlet

(nine deaths) and King Lear (ten) come close. But

the deaths themselves aren’t the most shocking

component of this still-disturbing play.

In the second act, Lavinia, daughter of Titus, is brutally raped by

Chiron and Demetrius, sons of the vengeful Queen Tamora. Worse

still, to prevent her from revealing their identities, the brothers viciously

cut out Lavinia’s tongue and hack off her hands. If you have a strong

stomach, try a Google image search for ‘Lavinia in Titus Andronicus’

and then stare open-mouthed at the ensuing gallery of horrors. But

Lavinia is more than a mere emblem of victimhood. Her mutilated,

blood-drenched body conceals astonishing reserves of strength. Lavinia

is, in fact, the nearest thing to a hero in Titus Andronicus...

32 SHAKESPEARE magazine


Titus Andronicus

She’s a rebel

Status-conscious Titus elects 1Saturninus

as Emperor of Rome, giving him both his

daughter and his war prisoners to show

support. But seemingly subservient Lavinia

scuppers his plan by eloping with Bassianus,

the man she truly loves. Lavinia’s defiant act

of rebellion has calamitous consequences. Her

father’s reputation is damaged, as is his trust

in her. Her actions also inadvertently cause

the death of her brother Mutius, a fate which

could have been avoided. And Saturninus,

denied the chance to marry Lavinia, falls

for Tamora instead, providing Rome’s new

Empress with enough power to destroy the

Andronicus family.

She takes on Tamora

Before her brutal silencing, Lavinia is vocal

in insulting Saturninus or confirming her

love for Bassianus. But the bulk of Lavinia’s

words are expended in a battle of wits with

the formidable Tamora, Queen of the Goths.

Discovering Tamora’s affair with Aaron,

morally righteous Lavinia furiously condemns

the Goth Queen’s adultery. Even after her

husband Bassianus is murdered, Lavinia’s

verbal assault rages unabated. This clearly is

a woman who speaks her mind whatever the

consequences.

She has unbelievable resilience

Until her death in Act 5, Lavinia remains

a near-constant presence on the stage.

Spending three acts dumb and without hands

is, of course, a major challenge 3for any actress

playing the role. In the Royal Shakespeare

Company’s 2013 production Rose Reynolds

scrounged a mouthful of boiled egg after

Photo: Graham Burke

A blood-drenched

Catherine

Hamilton as

Lavinia (The

Tobacco Factory,

Bristol, 2006)

defiantly crushing it with her stump. “She

innately possesses an inner strength and

power,” Reynolds says.

She never forgets who she is

In one of the play’s most unforgettable scenes,

Lavinia finds 4a way to bring retribution

to the Goth Princes. Shakespeare depicts

Lavinia chasing her young nephew who

holds the books she needs to ‘speak’ to her

family. She scrabbles with the pages until

‘The Tale of Philomela’ is open (in fact, the

story her tragedy was based upon). Lavinia’s

desperation to have a ‘voice’ is brilliantly

manifested in the 1985 BBC production,

where Anna Calder-Marshall frantically turns

the pages with her teeth.

She’s the bravest character

in the play

Surviving the physical and mental wounds

of her ordeal, while grieving for her husband

and brothers, Lavinia displays more courage

than any of the play’s male characters.

Ultimately she even brings retribution to

her assailants, Chiron and Demetrius – by

scraping words in sand with a staff held

in her mouth. Lavinia’s 5final moments are

spent in her father’s arms, but their loving

reconciliation is heart-rendingly brief, as Titus

is honour-bound to end his daughter’s life.

Read the full unedited version of this article on

our Facebook page

“Try a Google image search for ‘Lavinia in Titus

Andronicus’ and then stare open-mouthed at the

ensuing gallery of horrors”

SHAKESPEARE magazine 33


Bollywood

Amazingly, the love affair between England’s

greatest wordsmith and the world’s biggest




BOLLYWOOD

SHAKES!

W

hen we think of Shakespeare

in Bollywood we think of

adaptations such as Angoor

[Grapes] (1982), Qayamat Se

Qayamat Tak [From Doom to

Doom] (1988), Maqbool (2003) and Omkara

(2006). We might add to the list Shakespeare-themed

movies such as Shakespeare Wallah (1965) or The

Last Lear (2007). The Bard, however, is embedded

in the very dialogue and imagery of Bollywood.

This was true right from its inception due

to the roots of Hindi cinema in the Parsi

theatre tradition which freely borrowed from

European, Persian and Sanskrit sources.

After the 1950s, the Bengali literary tradition

resulted in several faithful translations

and adaptations of Shakespeare, which,

in conjunction with the inspiration of

Hollywood Shakespeare films, has led to

more complex adaptations of Shakespeare in

Bollywood in recent years.



Naseeruddin Shah, a veteran Bollywood

actor who has played Shakespeare on stage

and on screen claimed: “The roots may look

lost but every big story in the Hindi film

industry is from Shakespeare.” This may be an

oversimplification, but Bollywood not only

abounds in sly and unexpected references to

popular Shakespeare dialogues and characters,

but in common themes and devices such

as twins separated at birth, cross-dressing

characters, star-crossed lovers, characters

falling in love with messengers, the wise fool,

the tamed Shrew and the mousetrap device.



Several early Shakespearean adaptations

in Bollywood were copies of Hollywood

adaptations such as Kishore Sahu’s 1954

Hamlet, which was a shot-by-shot imitation

of Olivier’s 1948 Hamlet. The 1947 Romeo

and Juliet starring Nargis as Juliet was a

copy of the Hollywood version with Norma

Shearer. In recent years, the Rani Mukherjee

34 SHAKESPEARE magazine


Bollywood

“The 1947

Romeo and

Juliet starring

Nargis as Juliet

was a copy of

the Hollywood

version

with Norma

Shearer”

starrer Dil Bole Hadippa! (2009) was a

loose copy of She’s the Man (2006), based

on Twelfth Night. Sanjay Leela Bhansali’s

Ram Leela (2013) also owes more to Baz

Luhrmann’s Romeo + Juliet (1996) than to

Shakespeare.



The most popular plays in Bollywood are

Romeo and Juliet, The Taming of the Shrew,

The Comedy of Errors, The Merchant of

Venice and Hamlet. Taking one example

alone, there are three versions of Hamlet in

the Parsi theatre tradition: Dada Athawale’s

Hamlet or Khoon-e-Nahak [The Unjust

Assassination] (1928), Sohrab Modi’s Khoonka-Khoon

[Blood for Blood] or Hamlet

(1935) and Kishore Sahu’s 1954 Hamlet.

Eklavya (2007), the upcoming untitled film

by gay rights activist film maker Onir, the

in-production Haider by Vishal Bhardwaj,

as well as another planned adaptation to

be directed by Tigmanshu Dhulia starring

Hrithik Roshan, are also based on Hamlet.


The first Shakespearean adaptation on the

Hindi film screen was Savkari Pash (1925)

directed by Baburao Painter based on The

Merchant of Venice. A social melodrama in

the realist tradition, the film dealt with money

lending – a problem that ruined countless

poor, illiterate farmers. The audience, more

accustomed to escapist mythological fantasies

and historical love stories, did not appreciate

the strong dose of realism and the film did

not do well. However, the shot of a dreary hut

accompanied by a howling dog is regarded

as one of the most memorable moments of

Indian cinema.

The

Comedy of Errors is Indian

With a massive Bollywood audience hungry

for laughs, it’s no surprise that India has

made more film adaptations of The Comedy

of Errors than any other country. There are

three from Hong Kong, just two from the

SHAKESPEARE magazine 35


Bollywood

USA and one each from Russia and Mexico.

In contrast, there are six known Indian film

adaptations of this play and three more in

production. Of these, Angoor (1982) is the

best known, both in India and in the world.

It was also one of the first Shakespearean

adaptations in India to be transposed on to a

modern Indian setting.


Qayamat Se Qayamat Tak (1988), now one

of the best known adaptations of Romeo and

Juliet in Bollywood, was originally scripted

with a happy ending. Nasir Hussain, who

wrote the basic story of QSQT, thought that

Bollywood audiences would refuse to accept a

sad ending, especially in a love story. However,

Mansoor Khan, Nasir’s son and first-time

director, felt very strongly about an ending

where the lovers die and thought that giving

them a happy ending would ruin the integrity

of the story. He managed to convince his father

and an alternate tragic ending was shot. The

film ended up being a superhit.


The Mousetrap Device, or the play-withinthe-play,

helps Hamlet test the Ghost’s

accusation against Claudius. Karz (1980)

and its remake Om Shanti Om (2007) deal

with a popular Bollywood theme – rebirth.

Instead of the ghost, it is the protagonist who

is killed in these two films, who later returns

and uses the Mousetrap Device to ‘catch the

conscience’ of the killer. The Shakespearean

influence in these two commercially popular

Don’t worry, it

all ends badly for

Bollywood’s starcrossed

lovers.

films is completely unacknowledged but the

Hamletian echoes are obvious to anyone

familiar with the play – or the several

adaptations of Hamlet in Bollywood.



Directed by Vishal Bhardwaj, Maqbool

(Macbeth, 2004) and Omkara (Othello,

2006) have achieved critical and commercial

success internationally. Bhardwaj is the first

Indian filmmaker to attempt a Shakespearean

Trilogy, following in the footsteps of

Lawrence Olivier, Orson Welles, Kenneth

Branagh, Gregory Kozintsev and Akira

Kurosawa. His Haider (Hamlet) is in its final

stages of production.



There were several detailed translations of

Shakespeare in Hindi prose since the first

adaptation of The Merchant of Venice by

Bharatendu Harishchandra in 1880 titled

Durlabh Bandhu. These adaptations, other

than Indianising the names of people or

places, faithfully follow the original text

and were meant for reading rather than

presentation on stage. Dr. Harivansh Rai

Bachhan was the first to translate Macbeth

and Othello in verse in Hindi (in 1956 and

1958 respectively). Dr. Bachan’s son Amitabh

of course became the greatest of all Indian

screen superstars.




Shakespeare has seeped into the very idiom

of Bollywood and we can find references to it

in unexpected places. In Deewar [The Wall]

(1975) for instance, the mother disapproves

of her son’s nefarious doings and tells him

that “all the water in the world cannot wash

your hands clean of your sins”. The popular

comedic villain Ajit invokes Shakespeare

while getting rid of his victim in one movie,

instructing his henchman: “Give him the

Hamlet poison, he’ll continue to be lost in a

haze of to be or not to be!”

36 SHAKESPEARE magazine


Interview: James Shapiro

Photo: Mary Cregan

All the

World ’s a...

Screen

As well as being an authority

on Shakespeare, James Shapiro





38 SHAKESPEARE magazine


“I

cast my lot with those

who think that if

Shakespeare were

around today he’d be

making movies. It’s an

art form that would have suited his

gifts – and his desire to reach a huge

audience –perfectly.

“The first film I remember seeing was

Laurence of Arabia. I was seven in 1962

when my parents took my brother, sister and

I. The thrill of seeing a widescreen film in a

dark moviehouse is fixed in my memory.

“It’s a rare day when I don’t see a film,

or part of one – though given my crazed

schedule, more often than not on video. I

find it to be the most absorbing art form out

there and endlessly surprising – and I try to

draw on its lessons when writing my books.

“When I wrote 1599, for example, I tried

to imagine the opening scene in which a

theatre is hurriedly dismantled and moved

across the Thames on a wintry December day

as the basis for a film script.”

Interview: James Shapiro

Bradley Cooper

harangues Jennifer

Lawrence in Silver

Linings Playbook.

Silver Linings Playbook

“I love romantic comedy but hate romantic

comedies. The jokes are never funny enough

and the comic timing is always slightly off. I

even feel this way about Shakespeare’s Twelfth

Night. So it wasn’t until a third friend told

me that I had to see Silver Linings Playbook

that I finally gave in.

“I loved this movie. Not because of the

“I loved Silver Linings

Playbook because its timing

was absolutely perfect. Every

joke worked. Every scene set

up the next”

amazing chemistry of Bradley Cooper and

Jennifer Lawrence, or because De Niro came

close to stealing the show, but because its

timing was absolutely perfect. Every joke

worked. Every scene set up the next. It was

like experiencing a perfect downhill run on

skis. I left drained and very happy.”

Lore

“I was in London recently and dropped by

the Renoir, my favourite movie house in the

world, where Lore was playing. I had never

heard of the film but thought I’d take a

chance.

“I’ve seen or read scores of films and

books about the Holocaust and anti-Semitism

(and even wrote one about Oberammergau

and its Passion Play, which Hitler so loved)

SHAKESPEARE magazine 39


Interview: James Shapiro

An acclaimed

performance by

Saskia Rosendahl

in Lore.

but I’ve never seen a work that captured so

powerfully what happens when ideology and

reality collide.

“Lore’s struggle to reconcile what she

feels with what she has been taught to believe

– perfectly rendered by Saskia Rosendahl –

continues to haunt me.”

Man on Fire

“For sheer visceral pleasure, my all-time

favourite film is Man on Fire, starring Denzel

Washington. Some films hit you in the gut,

some in the heart, some in the head. This

thriller gets you in the gut.

“I’ve probably watched it 20 times since

it first came out in 2004 and never tire of

viewing it. As someone who teaches and

writes about Hamlet and revenge plays,

Still burning:

Denzel

Washington in

Man on Fire.

I’m fascinated by what makes for a perfect

revenge story. The best revenge is both

mimetic and belated – in other words, an

avenger needs to take his time and inflict

just the right punishment on those who have

done wrong.

“The director of Man on Fire, Tony Scott,

understands the mechanics of the revenge

plot perfectly. Denzel Washington has done

a lot of good work, but his performance as

Creasy, a burned-out former CIA agentturned-bodyguard,

is just amazing.

“I also love Christopher Walken’s cameo.

Just thinking about this film makes me want

to watch it again.”

Paisan

“Flipping through the movie channels the

other night I came upon a film I had never

heard of but will now return to: Roberto

Rosselli’s 1946 black-and-white masterpiece

Paisan, the closest thing to a great short-story

collection on film.

“I wondered how I had gone through life

without having heard of, let alone seen, such

a brilliant work, one that made me feel, as

no other art form ever has, what it was like

to have lived through the final and terrifying

months of the Second World War in Italy.”

A Columbia University professor,

James Shapiro is the author of 1599: A Year

in the Life of William Shakespeare and

Contested Will: who wrote Shakespeare?

and editor of Shakespeare in America.

More from: www.jamesshapiro.net

Parts of this interview originally appeared in

Cineworld Magazine.

40 SHAKESPEARE magazine


Diary: Brooke Thomas

Working at Shakespeare’s Globe is a dream job

for countless Bard fans – but what’s it really like

behind that hallowed stage? Brooke Thomas

reveals all in her Diary of a Globe Researcher

Around the

Globe in a day




















round t




42 SHAKESPEARE magazine


Diary: Brooke Thomas

This isn’t the best

picture of the Globe,

but it’s what I see as I

walk across the river to

work, and I don’t mind

admitting that even six

months into my time at

Globe Education, this

sight still makes me feel

like a kid in candy shop.

Bottom’s not bad company,

but he keeps going on

about how he can do my

job better than I can.

he Glob

Here I am with Bottom working on an Antony and

Cleopatra research document in the library. We try to

use original sources as much as possible. This isn’t only

a reliable way to research our productions, but has the

added benefit of involving early modern woodcuttings,

which are hilarious 80% of the time.

SHAKESPEARE magazine 43


Diary: Brooke Thomas

Every day, or more accurately, when we

remember, a member of the team adds

a favourite quote to this whiteboard

in the library. We try to tie it in with

whatever’s currently on in the theatres,

but mostly it’s a bit of fun. There’s

a slight ‘who can think of the most

obscure, but still poignant, Shakespeare

quote’ competitive thing going on, but

that’s to be expected in this hive of

Shakespeare enthusiasts.

I’m not sure whether this one

wins or breaks the rules by

not technically being a quote.

Hmmm.

I’m particularly fond

of this quote from The

Tempest, they’re not just

using me as an extra

whiteboard.

My second favourite place at the Globe is the

green room. Sadly there were no matinée actors

around, and everyone else must’ve been out

enjoying the sunshine, so I had a nice quiet lunch

with Sam.

You can always hear what’s going on in

the theatres next door while you’re in the green

room, it’s one of the reasons I spend so much time

lobe in

working in there. You hear the cheers, laughter,

and groans of the audience, and even if there’s

no show on there’ll musicians rehearsing, or

actors, or you might catch the tail end of a tour.

Of course, some days, like this day, all you

hear are the saws and drills of set builders.

Ah well, it can’t always poetry and lutes.

44 SHAKESPEARE magazine


Diary: Brooke Thomas

I’ve only been in my favourite place in the building once, but

it still beats the green room, the library, and the theatres hands

down for me. Stepping into the tiring house at Shakespeare’s

Globe feels like walking into a cathedral. It’s just a small, dark

space, just a room, but there’s something about the smell of warm

wood and the sunlight filtering through the grates that inspires

awe-filled silence. There’s nothing quite like the excitement and

apprehension that you feel when those doors open inwards, light

floods the sanctuary of the tiring house, and you see the ‘wooden

o’ from the actor’s point of view.

Shakespeare’s

Globe

The Globe theatre, and the new

Jacobean playhouse next door, are

the vision of American actor and

director Sam Wanamaker. Sam worked

tirelessly from 1970 until his death in

1993 to bring Shakespeare’s theatre

back to London. The third and current

incarnation of Shakespeare’s Globe

opened on London’s Bankside in

1997, just a street closer to the river


Globe was opened in 1599 by the

Lord Chamberlain’s Men. It hosted


Shakespeare’s greatest works, including

Macbeth, Hamlet, and King Lear.

Fun fact: the sofas in our green room are

comically oversized. They’re on a platform

and they’re twice as deep as any sofa I’ve

ever seen.

This is technically to accommodate

the huge costumes our actors wear, but it’s

also good for curling up with a cup of tea

and definitely not falling asleep because

it’s so comfortable. Never. Not even once.

Certainly not on a regular basis.

a day



A breath of fresh

air overlooking

the river Thames

on the roof

terrace.

SHAKESPEARE magazine 45


Contributors

Brooke Thomas is a post-graduate

student of Shakespeare in her early

twenties. She learnt to love the Bard

during her BA at Royal Holloway,

University of London, and is

currently a researcher at Shakespeare’s

Globe. Brooke also writes fiction and

hosts a short story competition called

#SmallTales on Twitter. Her days off

consist of tea, cake, and Doctor Who.

You can find her at

www.literarygeek.co.uk

Emma Gutteridge Originally from

Cambridgeshire, Emma is graduating

from Winchester University this year

with a degree in Drama. She will be

attending Drama Studio London in the

new academic year to study Professional

Acting. Her love of Shakespeare stems

from her involvement in a production

of A Midsummer Night’s Dream at

school, and she has since performed in

four Shakespeare plays. Most recently

she played Laertes/Guildenstern

in Hamlet with Winchester-based

Platform 4.

Tom Phillips is a poet and

playwright living in Bristol. His

work includes the poetry collection

Recreation Ground (Two Rivers

Press, 2012) and the plays 100 Miles

North of Timbuktu (Theatre West,

Bristol, 2013) and Prella’s Gift (Show

of Strength, Bristol, 2012). He is a

founder member of the international

arts network Culture Exchange

Experiment and the online Anglo-

Bulgarian collaborative arts project

Colourful Star.

Meet thy makers...

Just some of the contributors to this issue of Shakespeare Magazine

Helen Mears teaches English

Literature, Film and Media Studies

at a Further Education college in

Ipswich. She has loved Shakespeare

since her schooldays and at weekends

can be found volunteering at The

Globe or the Sam Wanamaker

Playhouse. She is currently studying

for an MA in the Advanced Teaching

of Shakespeare. She is at her happiest

when watching Shakespeare,

exploring castles and monastic ruins

or listening to Fall Out Boy.

Koel Chatterjee is an English

language tutor and examiner as

well as a PhD candidate at Royal

Holloway, University of London.

Her field of research is Shakespearean

appropriations and adaptations in the

Hindi film industry in post-colonial

India. She runs the blog

www.muchadoaboutshakespeare.com

and is co-organiser of the Shakespeare

and Bollywood Conference.

Hannah Tribe is a young Welsh

artist with “a passion for making”.

She studied Drawing and Applied

Art at the University of the West

of England. Here, she developed

an interest in creating work using

techniques associated with notions

of traditional female craft. In so

doing, she attempts to address “the

everyday conflicts between feminism

and femininity”. She continues

to experiment with works in

embroidery, floristry, cake decoration

and ceramics.

SHAKESPEARE magazine 47


Curtain

MICKEY

ROONEY

(1920-2014)

“If we shadows have offended,

Think but this, and all is mended,

That you have but slumbered here

Whilst visions did appear.

And this weak and idle theme,

No more yielding but a dream,

Gentles, do not reprehend,

If you pardon, we will mend...

Else the Puck a liar call

So, good night unto you all.

Give me your hands, if we be

friends,

And Robin shall restore amends.”

A teenage Rooney bids farewell



SHAKESPEARE magazine 49


Next issue

We hope you’ve enjoyed Issue One of Shakespeare Magazine.

We’ll be back next month, and here’s just a few of the Bard-related

delights we’ll be unfurling for your pleasure...

PARIS SHAKES!

An army of Shakespeare experts descend on one of the world’s



Macbeth at the Movies

From Kurosawa to Fassbender, the Scottish Play on

the silver screen.




Shakespeare’s Greatest Hits

From Cole Porter to Elvis Costello, every great songwriter

has a touch of the Shakes...

Being Shakespeare

Meet the actors who make a living by playing the Bard.

50 SHAKESPEARE magazine


13 Feb - 2 May 2014

Tobacco Factory Theatres, Bristol

Raleigh Road, Bristol, BS3 1TF

0117 902 0344

www.tobaccofactorytheatres.com

6 - 10 May

Stephen Joseph Theatre, Scarborough

Westborough, Scarborough,

N Yorks, YO11 1JW

01723 370541

www.sjt.uk.com

13 - 17 May

Everyman Theatre, Cheltenham

Regent Street, Cheltenham, GL50 1HQ

01242 572573

www.everymantheatre.org.uk

20 - 24 May

Hall for Cornwall

Lemon Quay, Truro, TR1 2LL

01872 262466

www.hallforcornwall.co.uk

3 - 7 June

Theatre Royal, Winchester

21-23 Jewry Street, Winchester,

Hants SO23 8SB

01962 840440

www.theatreroyalwinchester.co.uk

10 - 14 June

Exeter Northcott Theatre

Stocker Road, Exeter, EX4 4QB

01392 493 493

www.exeternorthcott.co.uk

17 - 21 June

Salisbury Playhouse

Malthouse La, Salisbury, Wilts, SP2 7RA

01722 320 333

www.salisburyplayhouse.com

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