Shakespeare Magazine 01

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<br />


<br />

Celebrating<br />

450 years of the<br />

English language’s<br />

greatest-ever<br />

wordsmith<br />

<br />

Launch issue

Welcome <br />

Welcome<br />

Photo: David Hammonds<br />

to the first issue of <strong>Shakespeare</strong> <strong>Magazine</strong><br />

Back in my teenage years, I was a bit of a <strong>Shakespeare</strong><br />

fan. Doing an English degree at Oxford, however,<br />

was enough to firmly put me off literature for more<br />

than two decades. But I could never quite shake<br />

off my fascination for <strong>Shakespeare</strong>, and last year I<br />

found myself attempting for the first time to read the<br />

Complete Works.<br />

It was a defining, exhilarating, life-changing experience, one which<br />

also felt like a personal achievement – similar, I’d imagine, to climbing<br />

a mountain or running your first marathon.<br />

As a journalist, I instinctively looked for a magazine to enhance<br />

my rekindled love of the Bard. And I was stunned to discover that<br />

there wasn’t one.<br />

So 12 months later, here I am with the very first issue of<br />

<strong>Shakespeare</strong> <strong>Magazine</strong>, built from scratch by myself and Art Editor<br />

Paul McIntyre, along with a team of contributors who have been<br />

amazingly generous with their time and talent.<br />

<strong>Shakespeare</strong> <strong>Magazine</strong> is free to absolutely anyone in the world<br />

– although it would certainly help if you understand English, have<br />

internet access and are interested in <strong>Shakespeare</strong>.<br />

I’m thrilled to be launching <strong>Shakespeare</strong> <strong>Magazine</strong> in the week we<br />

celebrate 450 years since the birth of the man himself. It’s yet another<br />

testament to the enduring power and magic of his words.<br />

I hasten to add that I’m absolutely not a <strong>Shakespeare</strong> expert or<br />

any kind of authority. I’m just a humble journalist embarking on a<br />

journey with <strong>Shakespeare</strong>. And you’re very warmly invited to join me.<br />

Enjoy your magazine.<br />

Pat Reid, Founder & Editor<br />

SHAKESPEARE magazine 3

At last! A magazine with all the Will in the world<br />


<br />

Celebrating<br />

450 years of the<br />

English language’s<br />

greatest-ever<br />

wordsmith<br />

<br />

Contents<br />

Launch issue<br />

<strong>Shakespeare</strong> <strong>Magazine</strong><br />

Issue One<br />

23 April 2<strong>01</strong>4<br />

Founder & Editor<br />

Pat Reid<br />

Art Editor<br />

Paul McIntyre<br />

Advertising Manager<br />

Helen Forsyth<br />

Writers<br />

Robin Askew<br />

Zoe Bramley<br />

Andrew Bretz<br />

Koel Chatterjee<br />

Emma Gutteridge<br />

Lisa Houston<br />

Naomi Lord<br />

Kate Madison<br />

Samantha Mann<br />

Helen Mears<br />

Tom Phillips<br />

Brooke Thomas<br />

Daniela Verdejo<br />

Photography<br />

David Hammonds<br />

Gavin Roberts<br />

Ceramic Art<br />

Hannah Tribe<br />

Cover<br />

Engraving by Martin Droeshout,<br />

1623<br />

Thank You<br />

Richard Forsyth<br />

Guy Radcliffe<br />

Laura Pachkowski<br />

Mrs Mary Reid<br />

Thomas Xavier Reid<br />

Contact Us<br />

shakespearemag@outlook.com<br />

Twitter<br />

@UK<strong>Shakespeare</strong><br />

Coming Soon<br />

www.shakespearemagazine.com<br />

Game of crowns 10<br />

How Hollow Crown Fans made <strong>Shakespeare</strong> a Twitter phenomenon.<br />

<strong>Shakespeare</strong><br />

news 6<br />

What’s shaking in the world of<br />

<strong>Shakespeare</strong>.<br />

<br />

<br />

Exclusive<br />

competition 19<br />

This unique and beautiful<br />

handcrafted <strong>Shakespeare</strong> swan<br />

is up for grabs.<br />

<br />

4 SHAKESPEARE magazine

Contents <br />

Once upon a time<br />

in the west 20<br />

How Bristol became a hotbed of<br />

<br />

<br />

Slaughtering<br />

<strong>Shakespeare</strong> 28<br />

Jessica Lange, Anthony Hopkins<br />

and the most shocking <strong>Shakespeare</strong><br />

<br />

<br />

Beyond the<br />

bloodbath 32<br />

<br />

of Titus Andronicus.<br />

<br />

Bollywood<br />

shakes! 34<br />

The century-long romance of<br />

<br />

William <strong>Shakespeare</strong>.<br />

<br />

All the world’s<br />

a... screen 38<br />

<strong>Shakespeare</strong> authority<br />

<br />

<br />

<br />

Around the<br />

Globe in a day 42<br />

All in a day’s work at<br />

<strong>Shakespeare</strong>’s Globe.<br />

<br />

SHAKESPEARE magazine 5

News<br />


N ews<br />

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


Oh, Verona!<br />

The Arena di Verona Opera Festival: clearly the place<br />

to be for opera buffs with a taste for <strong>Shakespeare</strong>.<br />

Running from 20 June to 7 September,<br />

the Festival’s highlights include<br />

productions of Carmen, Turandot<br />

and <br />

Romeo<br />

and Juliet<br />

<br />

Roméo et Juliette is staged, with<br />

<br />

<br />

Tickets from www.arena.it or email<br />

biglietteria@arenadiverona.it<br />

6 SHAKESPEARE magazine

News <br />

Strike a Pose<br />

Bolton school's stylish R&J is<br />

inspired by Madonna's 'Vogue'.<br />

Last month, Bolton School staged<br />

Romeo and<br />

Juliet with Zack Howarth and<br />

<br />

<br />

<br />

the concept of the battling houses of<br />

Montague and Capulet.<br />

Next up for the school’s <strong>Shakespeare</strong><br />

450 celebrations is a festival presenting<br />

<br />

out too for an unpcoming production<br />

of Christopher Marlowe’s Dr. Faustus,<br />

<br />

<br />

www.boltonschool.org<br />

Twitter @drama_bsbd<br />

<br />

<br />

<br />

The Day The Globe Caught Fire<br />

Dancer Roberto<br />

Bolle returns to the<br />

<br />

City of London Tour Guide<br />

Zoe Bramley reports from the<br />

<strong>Shakespeare</strong> Trail.<br />

The first Globe theatre was situated<br />

a few hundred yards from today’s<br />

replica and was built in 1599. There’s<br />

some disagreement as to which play was<br />

first performed there – Henry V? Julius<br />

Caesar? But we know for sure which play was<br />

performed on the day it burned down.<br />

It was 29 June 1616. Inside the<br />

Globe, the groundlings – or “penny<br />

stinkards” – stood blinking in the afternoon<br />

sun, enthralled by the action on stage. The<br />

King’s Men were performing Henry VIII,<br />

<strong>Shakespeare</strong>’s latest, and the house was packed.<br />

As the play progressed, and Henry VIII<br />

entered Cardinal Wolsey’s house, a cannon<br />

was fired in honour of the legendary king.<br />

So thrilling was the spectacle that no-one<br />

noticed a stray spark land in the thatched<br />

roof. And when it began to smoulder, it was<br />

thought “but an idle smoak.” According to<br />

our eye witness Henry Wotton, the audience<br />

had “eyes more attentive to the show”, so “it<br />

kindled inwardly and ran around like a train,<br />

consuming within less than an hour the whole<br />

house to the very ground.”<br />

Happily, the only thing hurt was one<br />

man’s pride when his breeches caught fire and<br />

had to be extinguished with a bottle<br />

of beer.<br />

In 1989, the site of the Globe was explored<br />

by archaeologists from the Museum of London<br />

who discovered signs of charring above the<br />

foundations. Fire was an everyday hazard in<br />

the 17th Century, and thatched roofs were<br />

finally banned after the Great Fire of 1666<br />

which devoured the medieval city. Today’s<br />

Globe theatre is the first London building to be<br />

permitted a thatched roof since then.<br />

Twitter: @shakespearewalk<br />

SHAKESPEARE magazine 7

News<br />

Back to school<br />

with <strong>Shakespeare</strong><br />

Inspired by the RSC’s ‘Stand up for <strong>Shakespeare</strong>’<br />

approach, teacher Helen Mears shares her essential<br />

Dos and Don’ts for teaching the Bard.<br />

DON’T speak about <strong>Shakespeare</strong><br />

in hushed, reverent tones. He was<br />

a merchant’s son from small-town<br />

Stratford-upon-Avon. He didn’t go<br />

to university. He was educated by<br />

the English grammar school system.<br />

He was of the people and he is for<br />

the people.<br />

DON’T let your students be afraid<br />

of the language. Ninety-five percent<br />

of the words <strong>Shakespeare</strong> used are<br />

still in use today. The rest can be<br />

looked up in a good glossary or else<br />

gleaned from speaking them and<br />

looking at them in context.<br />

DON’T be afraid that you can<br />

introduce <strong>Shakespeare</strong> too early.<br />

Young children are used to archaicsounding<br />

language in the form of<br />

nursery rhymes and fairy tales. They<br />

will enjoy the rhythm and rhyme,<br />

particularly that of the faeries and<br />

witches in the plays.<br />

DON’T simply sit at the desks and<br />

read. The language is there to be<br />

explored. Look at punctuation, prose<br />

and verse, variations in the iambic<br />

rhythm. Think about where they are<br />

used and why. What do they tell us<br />

about the characters?<br />

DON’T say “I know this is boring but<br />

we have to”. Talk about Elizabethan<br />

England – the plague, bear-baiting,<br />

castles, stately homes. Tell them about<br />

the Reformation and the power<br />

of kings and queens. Explain why<br />

<strong>Shakespeare</strong> had to be so careful about<br />

what he wrote.<br />

DO see the play – a live production,<br />

recorded, film or television – however<br />

you can. Avoid those hammy Olivierera<br />

films. Received pronunciation<br />

didn’t exist in <strong>Shakespeare</strong>’s England<br />

and William himself would have<br />

spoken with a broad regional accent.<br />

Remember, he’s for everyone.<br />

DO ensure your students know and<br />

understand the story of the play they<br />

are studying. Show them the whole<br />

story and get them to summarise it as<br />

a tweet, a fairy story, a rap. Then you<br />

can begin to work on smaller, edited<br />

extracts of the text.<br />

DO move away from the desks.<br />

<strong>Shakespeare</strong>’s works are play texts,<br />

so treat them as plays. Say the words<br />

aloud, start in groups and select key<br />

words from the speech or scene, and<br />

use gesture to reinforce the meaning of<br />

those words.<br />

DO get to know the characters<br />

really well. Play ranking and sorting<br />

games – who is the most important,<br />

the least? Make character Facebook<br />

pages, explore their relationships,<br />

emotions and motivations.<br />

Characters are the heart and soul of<br />

every <strong>Shakespeare</strong> play.<br />

DO let your students find their own<br />

meanings. It doesn’t matter what crusty<br />

old critics have said, how do the plays<br />

resonate today? Explore the universal<br />

themes that drive the plays – love, hate,<br />

revenge, friendship, ambition. Ask your<br />

students what would they do in the<br />

same situation?<br />

<br />

www.rsc.org.uk/sufs/<br />

The <strong>Shakespeare</strong> <strong>Magazine</strong> Quiz<br />

To celebrate the Bard's 450th birthday, our debut quiz is inspired<br />

by the “uncertain glory” of the month of April itself...<br />

1<strong>Shakespeare</strong>’s<br />

birthdate is<br />

unknown, but thought<br />

to be 23 April. On<br />

<br />

<br />

christened at Stratford-<br />

<br />

<br />

2 <br />

<strong>Shakespeare</strong> also<br />

died on 23 April – in<br />

<br />

<br />

<br />

“Blessed be the man<br />

that spares these<br />

stones…”<br />

3In his will,<br />

<strong>Shakespeare</strong><br />

<br />

“second-best bed”<br />

to his wife Anne. The<br />

document is also<br />

famous for containing<br />

three of the existing six<br />

<br />

4From which<br />

<strong>Shakespeare</strong><br />

<br />

character, does this<br />

<br />

“O, how this spring of<br />

love resembleth / The<br />

<br />

<br />

5<strong>Shakespeare</strong>’s<br />

<br />

<br />

<br />

<br />

his troops with these<br />

<br />

<br />

<br />

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

8 SHAKESPEARE magazine

News <br />

A dressing<br />

room revelation<br />

for the cast<br />

(Lili Fuller and<br />

Joe Sofranco,<br />

far right).<br />

Pauline (Lili<br />

Fuller) channels<br />

<br />

Works in Progress<br />

Hot new US show Complete<br />

Works could do for <strong>Shakespeare</strong><br />

what Pitch Perfect did for acapella.<br />

Back in 2004, Joe Sofranco beat 16,000<br />

competitors to win the National <strong>Shakespeare</strong><br />

Competition in New York. Ten years later,<br />

he has a company named Kingdom For a Horse<br />

Productions and he’s the writer, co-director and star<br />

of Complete Works, a <strong>Shakespeare</strong>-themed comedy<br />

launching on the Bard’s 450th birthday.<br />

Joe plays an aspiring, <strong>Shakespeare</strong>-obsessed actor<br />

named Hal, who sounds suspiciously like a younger<br />

version of himself. Three years in the making,<br />

the show is set in the surprisingly cut-throat<br />

world of theatre geeks and collegiate <strong>Shakespeare</strong><br />

competitions.<br />

“This was such a labour of love,” says Executive<br />

Producer Lili Fuller, who also plays the character of<br />

Pauline. “It stemmed from our shared passion for<br />

theatre and <strong>Shakespeare</strong>. The three of us are theatre<br />

geeks, and our community is full of crazy, hilarious<br />

people.”<br />

With shades of Mean Girls and Pitch Perfect<br />

– not to mention cult mockumentary Waiting for<br />

Guffman – Complete Works just might be the TV<br />

comedy the Bard's fans have been waiting for.<br />

Complete Works is screening at<br />

hulu.com/complete-works<br />

SHAKESPEARE magazine 9

The Hollow Crown<br />

British acting<br />

heavyweight<br />

Jeremy Irons<br />

as Henry IV.<br />

Game<br />

of<br />

Crowns<br />

10 SHAKESPEARE magazine

The Hollow Crown <br />

“<strong>Shakespeare</strong> is for everyone, no<br />

matter your age, native language<br />

or level of education. We try to<br />

show that <strong>Shakespeare</strong> can be a<br />

part of pop culture”<br />

Hollow Crown Fans<br />

Twitter phenomenon<br />

Hollow Crown Fans<br />

launched the hugely<br />

popular <strong>Shakespeare</strong><br />

Sunday onto a Bardhungry<br />

internet. We<br />

tracked down founders<br />

Lis and Rose for an<br />

illuminating chat about all<br />

things <strong>Shakespeare</strong>...<br />

<br />

SHAKESPEARE magazine 11

The Hollow Crown<br />

ith disarming modesty, Lis and Rose of Hollow<br />

Crown Fans describe themselves as “two admins<br />

who are both <strong>Shakespeare</strong> enthusiasts”. They’re a<br />

transatlantic duo – Rose is from the UK, while Lis<br />

hails from the USA. They first met on Twitter during<br />

“the infamous Wimbledon delay” of 7 July 2<strong>01</strong>2.<br />

This was the occasion when the BBC’s broadcast of<br />

The Hollow Crown: Henry IV Part 1 was held up<br />

by the trifling matter of a sporting event in London<br />

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

may have never met.” Rose also had a personal stake<br />

in The Hollow Crown, having appeared as an extra<br />

in THC: Henry V, which starred Tom Hiddleston:<br />

“So you could say we were very early adopters of<br />

the series...”<br />

Joe Armstrong as<br />

Hotspur in Henry IV<br />

Part 1.<br />

12 SHAKESPEARE magazine

The Hollow Crown <br />

Ben Whishaw as the<br />

divinely decadent<br />

Richard II.<br />

How did you get interested in<br />

<strong>Shakespeare</strong>?<br />

Lis: “I come from a family that really values<br />

and appreciates poetry so <strong>Shakespeare</strong> was<br />

introduced early on. I fell in love with<br />

Sonnet 30 as young teenager and began<br />

to explore the rest of his work. I became<br />

interested in <strong>Shakespeare</strong> in its theatre form<br />

after seeing Ralph Fiennes play Hamlet on<br />

Broadway. That made a huge impression on<br />

me and I was forever drawn to <strong>Shakespeare</strong><br />

productions on screen and stage thereafter.”<br />

Rose: “I’ve had an interest in <strong>Shakespeare</strong><br />

from a very early age thanks to my parents<br />

and the BBC’s fantastic animated tales series<br />

(1992). I think what really made me fall in<br />

love with the language was studying Romeo<br />

and Juliet in school during the same year Baz<br />

Luhrmann’s film was released, 1996. It all<br />

seemed to click!”<br />

<br />

about The Hollow Crown?<br />

Lis: “I love the History plays and was<br />

keenly interested in new adaptations of<br />

them, especially given the dream cast across<br />

the tetralogy. Richard II in particular came<br />

“We have young students<br />

following us and top<br />

academics, actors, producers,<br />

media professionals, and top<br />

<strong>Shakespeare</strong> institutions”<br />

Hollow Crown Fans<br />

alive in a way the text never did for me upon<br />

reading. That’s when I realised how powerful<br />

<strong>Shakespeare</strong> could be, even with the perceived<br />

limitations of television. I’d been used to<br />

seeing <strong>Shakespeare</strong> on Broadway and in<br />

regional theatre and big films like Kenneth<br />

Branagh’s Henry V. The quality of these epic<br />

productions for the small screen drew me in.”<br />

Rose: “I was lucky enough to have been cast<br />

as an extra in The Hollow Crown: Henry V.<br />

I love <strong>Shakespeare</strong> and history, but it was the<br />

mention of Tom Hiddleston that gave me<br />

courage to take the plunge and give it a go.<br />

“As a result I was already physically and<br />

emotionally invested in the series from<br />

as early as winter 2<strong>01</strong>1! It was so exciting<br />

following Tom Hiddleston’s tweets from the<br />

battlefield and beyond during the filming<br />

process. Some of the locations I had visited<br />

on holiday or were local to me, which was an<br />

added aspect of interest in seeing this series.<br />

To have been involved, be it a very small part,<br />

is something I shall never forget.<br />

SHAKESPEARE magazine 13

The Hollow Crown<br />

“I love <strong>Shakespeare</strong> and history, but it was the<br />

mention of Tom Hiddleston that gave me courage to<br />

take the plunge and give it a go” Rose<br />

“Before watching THC, I must confess the<br />

history plays never appealed to me, I much<br />

preferred the comedies and tragedies! The<br />

Hollow Crown opened my eyes to these plays<br />

and beyond. The fantastic casting did much to<br />

hook me initially, along with visual feast of the<br />

costumes and film locations used.”<br />

What made you take to Twitter,<br />

and can you describe how your<br />

following grew?<br />

HCF: “We started out to promote a petition<br />

to the BBC to release a commemorative book<br />

of photographs that were taken during the<br />

filming of The Hollow Crown. Initially we<br />

tried to create interesting content so people<br />

would follow us and therefore sign the<br />

petition. Since then our scope has changed<br />

to reinforce our core beliefs that <strong>Shakespeare</strong><br />

is for everyone, no matter your age, native<br />

language or level of education. We try to<br />

show, on a daily basis, that <strong>Shakespeare</strong> can<br />

be a part of pop culture.<br />

“As we’ve introduced art and writing<br />

contests, interactive activities, promoting<br />

news about the cast and <strong>Shakespeare</strong>, and of<br />

course #<strong>Shakespeare</strong>Sunday we’ve steadily<br />

grown in numbers but also in the diversity<br />

14 SHAKESPEARE magazine

The Hollow Crown <br />

Tom Hiddleston as<br />

Henry V (left) and<br />

David Morrissey as<br />

Northumberland<br />

(above).<br />

of our followers. We have young students<br />

following us and top academics, actors,<br />

producers, media professionals, and top<br />

<strong>Shakespeare</strong> institutions. We’re proud of<br />

our diversity but also with how engaged our<br />

followers are with us every day.”<br />

How did you come up with the<br />

idea for the phenomenally popular<br />

#<strong>Shakespeare</strong>Sunday?<br />

HCF: “We loved quoting scenes from The<br />

Hollow Crown and we’d periodically ask<br />

“what’s your favorite quote from...” Then one<br />

Sunday in October 2<strong>01</strong>2, we thought we’d<br />

expand that activity and give the hashtag<br />

#<strong>Shakespeare</strong>Sunday a try and see if people<br />

liked it. The response to it has been nothing<br />

short of incredible.”<br />

Can you share some of your<br />

favourite moments, tweets or<br />

stories from Hollow Crown Fans<br />

around the world?<br />

HCF: “Favourite moments tend to centre<br />

around the activities we’ve done with the<br />

community. We ran an art contest in 2<strong>01</strong>2<br />

and it was amazing to see the work of so<br />

many talented artists coming in. We did a<br />

Cento Poetry competition that was judged<br />

by The <strong>Shakespeare</strong> Institute, and again the<br />

creativity of our followers was inspiring.<br />

“Probably the greatest tweet was from<br />

James Purefoy, who played Mowbray in<br />

Richard II. He had tweeted he was on a<br />

transatlantic flight and so we asked him to<br />

quote some <strong>Shakespeare</strong> from the air and he<br />

responded with one from The Tempest: ‘The<br />

cloud-capp’d tow’rs, the gorgeous palaces, The<br />

solemn temples, the great globe itself...’ which<br />

was simply perfect in context.”<br />

“Undeniably one of our favourite<br />

SHAKESPEARE magazine 15

The Hollow Crown<br />

moments came from a PBS interview Tom<br />

Hiddleston did where he spent time talking<br />

about our account and #<strong>Shakespeare</strong>Sunday.<br />

Getting support from the star of the series, as<br />

well as a prominent television network like<br />

PBS, is a great feeling.”<br />

Was The Hollow Crown<br />

responsible for the rise of<br />

Tom Hiddleston – or was Tom<br />

Hiddleston responsible for the<br />

success of The Hollow Crown?<br />

HCF: “Tom Hiddleston was already making<br />

waves as Loki in the Marvel films, but<br />

perhaps The Hollow Crown showed a mass<br />

audience how adept he is at performing and<br />

leading an audience through <strong>Shakespeare</strong>.<br />

The Hollow Crown had a tremendous cast<br />

of new talent as well as legends – it would<br />

be a mistake to chalk up the success of The<br />

Hollow Crown to any one actor. To be frank,<br />

David Dawson as<br />

Poins (left) with Tom<br />

Hiddleston’s Hal.<br />

<strong>Shakespeare</strong> is what made it successful. We<br />

track mentions on Twitter and <strong>Shakespeare</strong><br />

outruns mentions of any of the actors by 10-<br />

20 times the rate!”<br />

Apart from the obvious big names,<br />

who are some of your favourite<br />

characters and actors from The<br />

Hollow Crown?<br />

Lis: “The supporting actor that really<br />

stood out for me was David Morrissey as<br />

Northumberland in Richard II. I can only<br />

describe him as completely badass. His role<br />

and lines were appropriate for the historical<br />

setting <strong>Shakespeare</strong> wrote for, but David<br />

made the political role modern and fresh with<br />

the right balance of edginess and gravitas.<br />

“As for favourite character, I really enjoyed<br />

how David Dawson brought Poins to life. I<br />

thought he and Tom Hiddleston had great<br />

chemistry together and provided a lot of<br />

levity that stood up well against the wellknown<br />

humour between Hal and Falstaff.<br />

They made me want to head off to Boar’s<br />

Head Tavern for a few cups of sack!”<br />

Rose: “Two names I have to mention<br />

here. Firstly, Edward Akrout – the ‘dashing’<br />

Dauphin in Henry V. He gave a wonderful<br />

performance in a role that was rather edited<br />

down from the original version of the play. I<br />

felt he gave the Dauphin more than just the<br />

‘bad guy’ image one would originally expect<br />

in the role – and by the end might dare to<br />

confess even feeling some sympathy it hadn’t<br />

gone to plan at Agincourt!<br />

“Joe Armstrong as Harry Percy (Hotspur)<br />

in Henry IV Part 1 was another key favourite<br />

character and actor in the series. I had long<br />

been a fan of his father, Alun Armstrong, and<br />

was delighted that they were cast as father and<br />

son in The Hollow Crown!<br />

“Not only did they naturally work<br />

“The supporting actor that really stood out for me was<br />

David Morrissey as Northumberland in Richard II.<br />

I can only describe him as completely badass” Lis<br />

16 SHAKESPEARE magazine

The Hollow Crown <br />

Edward Akrout cuts a dash<br />

as the Dauphin.<br />

brilliantly together, but Joe matched up to the<br />

likes of Jeremy Irons, Tom Hiddleston and<br />

Michelle Dockery fantastically. By the end of<br />

this episode you were half torn with sadness<br />

that the light Joe shone to this character was<br />

extinguished by Prince Hal.”<br />

What are your thoughts on<br />

Hollow Crown 2?<br />

Lis: “I could not be more excited - and<br />

still a bit shocked - that a second series was<br />

announced, as the first series was reportedly<br />

disappointing in ratings. But I’m ecstatic that<br />

once again the BBC will bring lesser-known<br />

plays to the small screen, and ideally find<br />

that balance between making it appealing<br />

to the masses and detailed enough for the<br />

already converted. The casting of Benedict<br />

Cumberbatch in Richard III seems to indicate<br />

that’s the approach they plan to take.”<br />

Rose: “I am still in a complete state of<br />

happiness that there is a second series! We<br />

knew how much the first was loved by people<br />

and, thanks to the internet, how global this<br />

was. But realistically, the viewing figures in<br />

2<strong>01</strong>2 were not as high as we had hoped, let<br />

alone the BBC’s expectations.<br />

“When The White Queen aired on the<br />

BBC earlier this year, we had fun pairing up<br />

quotes from Henry VI and Richard III to<br />

various images, and discussed how much we<br />

wished THC could have had a second series!<br />

“Philippa Gregory’s novels, along with the<br />

recent discovery of Richard III’s body, have<br />

brought this period of history more into the<br />

public eye and shown there is a wide interest<br />

and demand for this material.<br />

“The War of the Roses accompanied with<br />

<strong>Shakespeare</strong> during the 450th anniversary of<br />

his birth seems the perfect combination right<br />

now and we expect only great things from<br />

The Hollow Crown series 2!”<br />

<br />

Find Hollow Crown Fans on Twitter:<br />

@HollowCrownFans<br />

SHAKESPEARE magazine 17

Win <br />


To celebrate the 450th anniversary of <strong>Shakespeare</strong>’s birth on<br />

23 April 1564, we have commissioned this beautiful and entirely<br />

original ceramic work from artist Hannah Tribe.<br />

Titled ‘Sweet Swan of Avon’, it will make a uniquely perfect<br />

centrepiece to the writing desk of any <strong>Shakespeare</strong> fan.<br />

Photo: David Hammonds<br />

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

shakespearemag@outlook.com with ‘Swan Comp’ in the subject line.<br />

Don’t forget to include your name, address, postcode and contact number.<br />

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

contact details.<br />

The closing date for this competition is Monday 26 May<br />

– and may fortune favour you!<br />

“This sculpture combines references to characters from<br />

<strong>Shakespeare</strong>’s life, both real and imagined”<br />

SHAKESPEARE magazine 19

<strong>Shakespeare</strong> city: Bristol<br />



20 SHAKESPEARE magazine

<strong>Shakespeare</strong> city: Bristol <br />

Main image: Clifton<br />

Suspension Bridge is<br />

Bristol’s most iconic<br />

landmark.<br />

Right: <strong>Shakespeare</strong><br />

Inn, Victoria Street.<br />

Local poet and<br />

playwright<br />

Tom Phillips<br />

takes us on a<br />

<strong>Shakespeare</strong>-<br />

<br />

tour of the city<br />

of Bristol.<br />

<br />

SHAKESPEARE magazine 21

<strong>Shakespeare</strong> city: Bristol<br />

“Peter O’Toole’s 1955 performance<br />

as Hamlet at Bristol Old Vic is the<br />

stuff of legend”<br />

Photos: Alan Moore, Gavin Roberts<br />

The <strong>Shakespeare</strong><br />

pub, Redland.<br />

22 SHAKESPEARE magazine

<strong>Shakespeare</strong> city: Bristol <br />

<strong>Shakespeare</strong> at the Tobacco Factory’s 2000<br />

production of King Lear: Roland Oliver as Lear<br />

(below) and Paul Nicholson as the Fool (below, right).<br />

Amuch-loved, but often-overlooked city<br />

in the South-West of England, Bristol<br />

makes no claims to have any particular<br />

connection with the living, breathing<br />

William <strong>Shakespeare</strong>. There are a few<br />

passing mentions of the city in Henry IV pts 1 & 2<br />

and Richard II – mostly in connection with troop<br />

movements and ‘the caterpillars of the commonwealth’<br />

who rebel against the monarchy – but it wasn’t a<br />

particularly prominent feature on <strong>Shakespeare</strong>’s<br />

imaginary map of England.<br />

The playwright’s posthumous presence,<br />

however, looms large. Maybe that’s because,<br />

having passed through Stratford, the river<br />

Avon snakes through the city, runs under<br />

Clifton Suspension Bridge and out to the<br />

Bristol Channel. You might say, in fact, that<br />

the river plugs the city into the <strong>Shakespeare</strong>an<br />

heartland.<br />

A rather less fanciful explanation, perhaps,<br />

is that Bristol has a long and eminent<br />

theatre tradition and, not surprisingly,<br />

productions of <strong>Shakespeare</strong>’s plays have been<br />

a prominent part of that. Peter O’Toole’s<br />

1955 performance as Hamlet at Bristol Old<br />

Vic is the stuff of legend while the same<br />

theatre’s 1997 production of Macbeth with<br />

Pete Postlethwaite as the eponymous Scottish<br />

king saw the professional stage debut of one<br />

Chiwetel Ejiofor (as Malcolm).<br />

More recently, the city has also gained an<br />

annual Bristol <strong>Shakespeare</strong> Festival – with<br />

many a production staged outdoors or in<br />

unlikely venues – and the simultaneously<br />

acclaimed and popular <strong>Shakespeare</strong> at the<br />

Tobacco Factory.<br />

The brainchild of Bristol-based director<br />

Andrew Hilton, the latter began life a few<br />

weeks after the millennium, when it opened<br />

with King Lear. On the face of it, it was<br />

absurdly ambitious: a full-cast production of<br />

the bleakest tragedy staged in a rough-andready<br />

space on the first floor of a stripped-out<br />

factory building in what was then a fairly<br />

rundown part of south Bristol.<br />

On press night, not more than a dozen<br />

people showed up. Only two of us were<br />

journalists. Of the rest, at least three or more<br />

members of the audience appeared to have<br />

wandered into the place by accident and had<br />

only stayed because it was marginally warmer<br />

than the street outside. We spread ourselves<br />

out in the auditorium in a desperate attempt<br />

SHAKESPEARE magazine 23

<strong>Shakespeare</strong> city: Bristol<br />

to make it look full. Then the play started.<br />

From the outset, it was obvious that this<br />

was no ordinary production. Lines which had<br />

been dunned into me in A-level English until<br />

they’d lost all their poetry were leaping off<br />

the page as if nobody had ever spoken them<br />

before.<br />

Even relatively minor characters were<br />

emerging as fully rounded individuals with a<br />

life which went way beyond their usefulness<br />

as plot devices. Without a hint of gimmickry,<br />

without any attempt to be trendily cutting<br />

edge by, say, relocating the entire play to a<br />

supermarket in war-torn Bosnia, this was a<br />

production which put its trust in the text and<br />

mined it for every nuance, every ambiguity.<br />

The result was extraordinary. By the time<br />

Lear was railing against Cordelia’s ingratitude,<br />

even the people who’d not really meant to<br />

come and see a <strong>Shakespeare</strong> play at all were<br />

sitting bolt upright. By the time of the king’s<br />

expulsion onto the heath, they were on the<br />

edge of their seats. Even the sword fight<br />

between Edgar and Edmund looked as if it<br />

might go either way.<br />

That same week, apparently, Hilton<br />

Great British<br />

<strong>Shakespeare</strong><br />

venue: Tobacco<br />

Factory.<br />

“Even the sword fight between Edgar and<br />

Edmund looked as if it might go either way”<br />

considered pulling the plug on the whole<br />

venture. The company was operating on the<br />

narrowest of margins and ticket sales were<br />

appalling. It seemed that Bristol didn’t have<br />

an appetite for yet more <strong>Shakespeare</strong> after all.<br />

Thankfully, he didn’t – because, as word<br />

began to spread and reviews began to appear,<br />

the city woke up to the fact that something<br />

unique was going on and by the last week of<br />

the month-long run you couldn’t get a ticket<br />

for love nor money. The production of A<br />

Midsummer Night’s Dream which followed<br />

ploughed the same back-to-basics furrow and<br />

fared equally well.<br />

More than aware that too early an<br />

exposure to <strong>Shakespeare</strong> can lead to a lifelong<br />

aversion, I took my six-year-old daughter to<br />

see it. She spent most of the in-the-round<br />

performance lying full-length on the very<br />

edge of the ‘stage’, enthralled by the antics of<br />

Puck, Bottom, Helena and Hermia. While<br />

we were walking home, she announced that<br />

she wanted to be an actress. Fifteen years<br />

later, she’s about to graduate with a degree in<br />

performing arts.<br />

<strong>Shakespeare</strong> at the Tobacco Factory,<br />

meanwhile, have gone from strength to<br />

strength. Aside from an ill-fated production<br />

of Titus Andronicus which nearly bankrupted<br />

the company, they’ve enjoyed unparalleled<br />

success, earned themselves a reputation as<br />

a sort of West Country-based RSC and<br />

given dozens of young actors a leg-up in the<br />

perilous early stages of their career, most<br />

recently with their second take on As You<br />

Like It. What’s more, while they might not<br />

have kickstarted the regeneration of south<br />

Bristol, their popularity hasn’t done anything<br />

to harm it.<br />

Exactly how finely honed productions of<br />

<strong>Shakespeare</strong> might benefit a neighbourhood’s<br />

local economy is a question that’s yet to<br />

be answered, but it certainly feels as if<br />

there’s some kind of connection between<br />

renegotiating Hamlet’s soliloquies and the<br />

24 SHAKESPEARE magazine

<strong>Shakespeare</strong> city: Bristol <br />

“The city’s longest-running pub is, of course, called<br />

The <strong>Shakespeare</strong> Tavern, having opened in 1777”<br />

reinvigoration of the local high street.<br />

Walk down Prince Street towards Bristol<br />

docks, meanwhile, and you’ll come across the<br />

city’s longest-running pub. It is, of course,<br />

called The <strong>Shakespeare</strong> Tavern and, having<br />

opened in 1777, it reputedly took its name<br />

because <strong>Shakespeare</strong> was very much on the<br />

menu at the nearby Theatre Royal (i.e. Bristol<br />

Old Vic). In here, last summer, you might<br />

have encountered an ad-hoc pub performance<br />

for Bristol <strong>Shakespeare</strong> Festival. Over the bar,<br />

you might also have noticed a quotation from<br />

Merry Wives of Windsor.<br />

In here too you might also have spotted<br />

someone sitting at a long wooden table with<br />

a copy of the Sonnets open beside his pint<br />

of Guinness. That was me preparing for<br />

another typically quirky BSF performance:<br />

<strong>Shakespeare</strong> Sonnet Russian Roulette, in<br />

which audience members shout out numbers<br />

from one to 154 and I do sight-read requests.<br />

I don’t think I’ve ever been more terrified<br />

in my life, but it’s a mark of the poetry’s<br />

greatness that its meaning is there, ready and<br />

waiting – no matter who reads it. All you<br />

have to do is look.<br />

<br />

Roland Oliver<br />

as Bottom in A<br />

Midsummer Night’s<br />

Dream (Tobacco<br />

Factory, 2000).<br />

Could you write a <strong>Shakespeare</strong> Guide to your<br />

favourite city? Get in touch:<br />

shakespearemag@outlook.com<br />

<strong>Shakespeare</strong> Tavern,<br />

Prince Street.<br />

SHAKESPEARE magazine 25

Titus Andronicus<br />

Saturninus<br />

(Alan Cumming)<br />

oversees his evil<br />

empire in Titus.<br />

28 SHAKESPEARE magazine

Titus Andronicus <br />

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

<br />

<strong>Shakespeare</strong>’s Titus Andronicus. Here’s what Robin Askew reckoned at the time...<br />

Titus (18)<br />

USA 1999 /162 minutes<br />

Director: Julie Taymor<br />

Cast: Anthony Hopkins, Jessica Lange,<br />

Alan Cumming, Harry Lennix, Colm Feore,<br />

Jonathan Rhys Meyers, Angus Macfadyen,<br />

Laura Fraser<br />

It’ll be too baroque, violent<br />

and – whisper it! – funny<br />

for those who prefer their<br />

<strong>Shakespeare</strong> luvvie-cosy,<br />

but Julie Taymor’s brave,<br />

visually stunning re-imagining of<br />

this little-known vengeance yarn<br />

is an absolute vindication of her<br />

contention that it’s an overlooked<br />

masterpiece brimming with<br />

contemporary resonance – and a<br />

real treat for those who prefer the<br />

Bard’s earlier, gorier ones.<br />

Much has been written about the way<br />

our appreciation of <strong>Shakespeare</strong> in general,<br />

and Titus Andronicus in particular, is viewed<br />

through the prism of Victorian criticism, with<br />

all its attendant moral baggage. The brilliance<br />

of Taymor’s version is that it recaptures the<br />

spirit of old Bill’s biggest crowd-pleaser,<br />

which entails the increasingly unpleasant<br />

deaths of virtually all of its principals in a<br />

cycle of vengeance that redeems nobody, with<br />

an ugly side-order of sexual abuse, racism and<br />

religiously inspired atrocity.<br />

<br />

SHAKESPEARE magazine 29

Titus Andronicus<br />

How<br />

Bull-headed and<br />

borderline insane:<br />

Anthony Hopkins<br />

as Titus.<br />

much more modern relevance do you<br />

want? Anthony Hopkins, on top form, is<br />

the eponymous granite-hewn, bull-headed<br />

warrior who returns to Rome in triumph after<br />

an extended bout of blood-letting, bearing<br />

Tamora, Queen of the Goths (Lange), her<br />

three sons and “barbarous Moor” Aaron<br />

(Lennix) as his prisoners.<br />

Religious tradition requires a sacrifice, so<br />

the eldest son gets to be torn limb from limb,<br />

his giblets sizzled over an open fire, earning<br />

Titus the undying enmity of the warrior<br />

queen. But his first mistake is in pledging<br />

fealty to weak and effete new emperor<br />

Saturninus (Cumming), who promptly falls<br />

for the exotic and cunning Tamora, giving her<br />

a position of power from which to unleash<br />

the tit-for-tat revenge that will continue until<br />

the climactic time-slice freeze-frame.<br />

Taymor performs wonders in conjuring<br />

such a sumptuous visual feast on a relatively<br />

“<strong>Shakespeare</strong> had a keen appreciation of comic horror<br />

long before the era of The Evil Dead”<br />

30 SHAKESPEARE magazine

“Old Bill’s biggest crowd-pleaser entails the<br />

increasingly unpleasant deaths of virtually<br />

all of its principals”<br />

Titus Andronicus <br />

“Exotic and cunning”<br />

Tamora, played with<br />

sadistic relish by<br />

Jessica Lange.<br />

low budget. From the tremendous, superbly<br />

choreographed opening tableau of an army<br />

of warriors performing a victory ritual in the<br />

Coliseum, the film mixes and matches the<br />

iconography of Ancient Rome, ’30s Italian<br />

fascism and beyond, with every aspect of<br />

the production design and music carefully<br />

thought through, demanding repeated<br />

viewing to appreciate its myriad subtleties.<br />

The violence which is so central to the<br />

story is also explicit only when necessary.<br />

No censor would risk the ridicule of cutting<br />

<strong>Shakespeare</strong>, but nor can one imagine them<br />

permitting the gleeful rape and mutilation<br />

endured by Titus’s virginal daughter Lavinia<br />

in any other film.<br />

Taymor shows us only what we need to<br />

see, but it’s no less horrific for that. Better yet,<br />

she restores the play’s oft-excised funny lines,<br />

which reveal that <strong>Shakespeare</strong> had a keen<br />

appreciation of comic horror long before the<br />

era of The Evil Dead.<br />

The performances are uniformly<br />

magnificent, many of the characters<br />

prefiguring in unvarnished form the Bard’s<br />

more famous creations (Titus/Lear, Tamora/<br />

Lady Macbeth, Aaron/Iago), with Harry<br />

Lennix’s unrepentant Aaron – <strong>Shakespeare</strong>’s<br />

most overt treatment of race, fact fans –<br />

almost stealing it from Hopkins’ borderline<br />

insane Titus.<br />

<br />

This review originally appeared in<br />

Venue <strong>Magazine</strong>.<br />

SHAKESPEARE magazine 31

Titus Andronicus<br />

Beyond<br />

the<br />

bloodbath<br />

Traditionally viewed as the<br />

ultimate victim, Lavinia is the<br />

Titus Andronicus,<br />

writes Emma Gutteridge.<br />

S<br />

2<br />

hakespeare’s earliest and bloodiest tragedy, Titus<br />

Andronicus boasts a dizzying body count. With<br />

14 deaths by the final curtain, not even Hamlet<br />

(nine deaths) and King Lear (ten) come close. But<br />

the deaths themselves aren’t the most shocking<br />

component of this still-disturbing play.<br />

In the second act, Lavinia, daughter of Titus, is brutally raped by<br />

Chiron and Demetrius, sons of the vengeful Queen Tamora. Worse<br />

still, to prevent her from revealing their identities, the brothers viciously<br />

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

stomach, try a Google image search for ‘Lavinia in Titus Andronicus’<br />

and then stare open-mouthed at the ensuing gallery of horrors. But<br />

Lavinia is more than a mere emblem of victimhood. Her mutilated,<br />

blood-drenched body conceals astonishing reserves of strength. Lavinia<br />

is, in fact, the nearest thing to a hero in Titus Andronicus...<br />

32 SHAKESPEARE magazine

Titus Andronicus <br />

She’s a rebel<br />

Status-conscious Titus elects 1Saturninus<br />

as Emperor of Rome, giving him both his<br />

daughter and his war prisoners to show<br />

support. But seemingly subservient Lavinia<br />

scuppers his plan by eloping with Bassianus,<br />

the man she truly loves. Lavinia’s defiant act<br />

of rebellion has calamitous consequences. Her<br />

father’s reputation is damaged, as is his trust<br />

in her. Her actions also inadvertently cause<br />

the death of her brother Mutius, a fate which<br />

could have been avoided. And Saturninus,<br />

denied the chance to marry Lavinia, falls<br />

for Tamora instead, providing Rome’s new<br />

Empress with enough power to destroy the<br />

Andronicus family.<br />

She takes on Tamora<br />

Before her brutal silencing, Lavinia is vocal<br />

in insulting Saturninus or confirming her<br />

love for Bassianus. But the bulk of Lavinia’s<br />

words are expended in a battle of wits with<br />

the formidable Tamora, Queen of the Goths.<br />

Discovering Tamora’s affair with Aaron,<br />

morally righteous Lavinia furiously condemns<br />

the Goth Queen’s adultery. Even after her<br />

husband Bassianus is murdered, Lavinia’s<br />

verbal assault rages unabated. This clearly is<br />

a woman who speaks her mind whatever the<br />

consequences.<br />

She has unbelievable resilience<br />

Until her death in Act 5, Lavinia remains<br />

a near-constant presence on the stage.<br />

Spending three acts dumb and without hands<br />

is, of course, a major challenge 3for any actress<br />

playing the role. In the Royal <strong>Shakespeare</strong><br />

Company’s 2<strong>01</strong>3 production Rose Reynolds<br />

scrounged a mouthful of boiled egg after<br />

Photo: Graham Burke<br />

A blood-drenched<br />

Catherine<br />

Hamilton as<br />

Lavinia (The<br />

Tobacco Factory,<br />

Bristol, 2006)<br />

defiantly crushing it with her stump. “She<br />

innately possesses an inner strength and<br />

power,” Reynolds says.<br />

She never forgets who she is<br />

In one of the play’s most unforgettable scenes,<br />

Lavinia finds 4a way to bring retribution<br />

to the Goth Princes. <strong>Shakespeare</strong> depicts<br />

Lavinia chasing her young nephew who<br />

holds the books she needs to ‘speak’ to her<br />

family. She scrabbles with the pages until<br />

‘The Tale of Philomela’ is open (in fact, the<br />

story her tragedy was based upon). Lavinia’s<br />

desperation to have a ‘voice’ is brilliantly<br />

manifested in the 1985 BBC production,<br />

where Anna Calder-Marshall frantically turns<br />

the pages with her teeth.<br />

She’s the bravest character<br />

in the play<br />

Surviving the physical and mental wounds<br />

of her ordeal, while grieving for her husband<br />

and brothers, Lavinia displays more courage<br />

than any of the play’s male characters.<br />

Ultimately she even brings retribution to<br />

her assailants, Chiron and Demetrius – by<br />

scraping words in sand with a staff held<br />

in her mouth. Lavinia’s 5final moments are<br />

spent in her father’s arms, but their loving<br />

reconciliation is heart-rendingly brief, as Titus<br />

is honour-bound to end his daughter’s life. <br />

Read the full unedited version of this article on<br />

our Facebook page<br />

“Try a Google image search for ‘Lavinia in Titus<br />

Andronicus’ and then stare open-mouthed at the<br />

ensuing gallery of horrors”<br />

SHAKESPEARE magazine 33

Bollywood<br />

Amazingly, the love affair between England’s<br />

greatest wordsmith and the world’s biggest<br />

<br />

<br />

<br />


SHAKES!<br />

W<br />

hen we think of <strong>Shakespeare</strong><br />

in Bollywood we think of<br />

adaptations such as Angoor<br />

[Grapes] (1982), Qayamat Se<br />

Qayamat Tak [From Doom to<br />

Doom] (1988), Maqbool (2003) and Omkara<br />

(2006). We might add to the list <strong>Shakespeare</strong>-themed<br />

movies such as <strong>Shakespeare</strong> Wallah (1965) or The<br />

Last Lear (2007). The Bard, however, is embedded<br />

in the very dialogue and imagery of Bollywood.<br />

This was true right from its inception due<br />

to the roots of Hindi cinema in the Parsi<br />

theatre tradition which freely borrowed from<br />

European, Persian and Sanskrit sources.<br />

After the 1950s, the Bengali literary tradition<br />

resulted in several faithful translations<br />

and adaptations of <strong>Shakespeare</strong>, which,<br />

in conjunction with the inspiration of<br />

Hollywood <strong>Shakespeare</strong> films, has led to<br />

more complex adaptations of <strong>Shakespeare</strong> in<br />

Bollywood in recent years.<br />

<br />

<br />

Naseeruddin Shah, a veteran Bollywood<br />

actor who has played <strong>Shakespeare</strong> on stage<br />

and on screen claimed: “The roots may look<br />

lost but every big story in the Hindi film<br />

industry is from <strong>Shakespeare</strong>.” This may be an<br />

oversimplification, but Bollywood not only<br />

abounds in sly and unexpected references to<br />

popular <strong>Shakespeare</strong> dialogues and characters,<br />

but in common themes and devices such<br />

as twins separated at birth, cross-dressing<br />

characters, star-crossed lovers, characters<br />

falling in love with messengers, the wise fool,<br />

the tamed Shrew and the mousetrap device.<br />

<br />

<br />

Several early <strong>Shakespeare</strong>an adaptations<br />

in Bollywood were copies of Hollywood<br />

adaptations such as Kishore Sahu’s 1954<br />

Hamlet, which was a shot-by-shot imitation<br />

of Olivier’s 1948 Hamlet. The 1947 Romeo<br />

and Juliet starring Nargis as Juliet was a<br />

copy of the Hollywood version with Norma<br />

Shearer. In recent years, the Rani Mukherjee<br />

34 SHAKESPEARE magazine

Bollywood <br />

“The 1947<br />

Romeo and<br />

Juliet starring<br />

Nargis as Juliet<br />

was a copy of<br />

the Hollywood<br />

version<br />

with Norma<br />

Shearer”<br />

starrer Dil Bole Hadippa! (2009) was a<br />

loose copy of She’s the Man (2006), based<br />

on Twelfth Night. Sanjay Leela Bhansali’s<br />

Ram Leela (2<strong>01</strong>3) also owes more to Baz<br />

Luhrmann’s Romeo + Juliet (1996) than to<br />

<strong>Shakespeare</strong>.<br />

<br />

<br />

The most popular plays in Bollywood are<br />

Romeo and Juliet, The Taming of the Shrew,<br />

The Comedy of Errors, The Merchant of<br />

Venice and Hamlet. Taking one example<br />

alone, there are three versions of Hamlet in<br />

the Parsi theatre tradition: Dada Athawale’s<br />

Hamlet or Khoon-e-Nahak [The Unjust<br />

Assassination] (1928), Sohrab Modi’s Khoonka-Khoon<br />

[Blood for Blood] or Hamlet<br />

(1935) and Kishore Sahu’s 1954 Hamlet.<br />

Eklavya (2007), the upcoming untitled film<br />

by gay rights activist film maker Onir, the<br />

in-production Haider by Vishal Bhardwaj,<br />

as well as another planned adaptation to<br />

be directed by Tigmanshu Dhulia starring<br />

Hrithik Roshan, are also based on Hamlet.<br />

<br />

The first <strong>Shakespeare</strong>an adaptation on the<br />

Hindi film screen was Savkari Pash (1925)<br />

directed by Baburao Painter based on The<br />

Merchant of Venice. A social melodrama in<br />

the realist tradition, the film dealt with money<br />

lending – a problem that ruined countless<br />

poor, illiterate farmers. The audience, more<br />

accustomed to escapist mythological fantasies<br />

and historical love stories, did not appreciate<br />

the strong dose of realism and the film did<br />

not do well. However, the shot of a dreary hut<br />

accompanied by a howling dog is regarded<br />

as one of the most memorable moments of<br />

Indian cinema.<br />

The<br />

Comedy of Errors is Indian<br />

With a massive Bollywood audience hungry<br />

for laughs, it’s no surprise that India has<br />

made more film adaptations of The Comedy<br />

of Errors than any other country. There are<br />

three from Hong Kong, just two from the<br />

SHAKESPEARE magazine 35

Bollywood<br />

USA and one each from Russia and Mexico.<br />

In contrast, there are six known Indian film<br />

adaptations of this play and three more in<br />

production. Of these, Angoor (1982) is the<br />

best known, both in India and in the world.<br />

It was also one of the first <strong>Shakespeare</strong>an<br />

adaptations in India to be transposed on to a<br />

modern Indian setting.<br />

<br />

Qayamat Se Qayamat Tak (1988), now one<br />

of the best known adaptations of Romeo and<br />

Juliet in Bollywood, was originally scripted<br />

with a happy ending. Nasir Hussain, who<br />

wrote the basic story of QSQT, thought that<br />

Bollywood audiences would refuse to accept a<br />

sad ending, especially in a love story. However,<br />

Mansoor Khan, Nasir’s son and first-time<br />

director, felt very strongly about an ending<br />

where the lovers die and thought that giving<br />

them a happy ending would ruin the integrity<br />

of the story. He managed to convince his father<br />

and an alternate tragic ending was shot. The<br />

film ended up being a superhit.<br />

<br />

The Mousetrap Device, or the play-withinthe-play,<br />

helps Hamlet test the Ghost’s<br />

accusation against Claudius. Karz (1980)<br />

and its remake Om Shanti Om (2007) deal<br />

with a popular Bollywood theme – rebirth.<br />

Instead of the ghost, it is the protagonist who<br />

is killed in these two films, who later returns<br />

and uses the Mousetrap Device to ‘catch the<br />

conscience’ of the killer. The <strong>Shakespeare</strong>an<br />

influence in these two commercially popular<br />

Don’t worry, it<br />

all ends badly for<br />

Bollywood’s starcrossed<br />

lovers.<br />

films is completely unacknowledged but the<br />

Hamletian echoes are obvious to anyone<br />

familiar with the play – or the several<br />

adaptations of Hamlet in Bollywood.<br />

<br />

<br />

Directed by Vishal Bhardwaj, Maqbool<br />

(Macbeth, 2004) and Omkara (Othello,<br />

2006) have achieved critical and commercial<br />

success internationally. Bhardwaj is the first<br />

Indian filmmaker to attempt a <strong>Shakespeare</strong>an<br />

Trilogy, following in the footsteps of<br />

Lawrence Olivier, Orson Welles, Kenneth<br />

Branagh, Gregory Kozintsev and Akira<br />

Kurosawa. His Haider (Hamlet) is in its final<br />

stages of production.<br />

<br />

<br />

There were several detailed translations of<br />

<strong>Shakespeare</strong> in Hindi prose since the first<br />

adaptation of The Merchant of Venice by<br />

Bharatendu Harishchandra in 1880 titled<br />

Durlabh Bandhu. These adaptations, other<br />

than Indianising the names of people or<br />

places, faithfully follow the original text<br />

and were meant for reading rather than<br />

presentation on stage. Dr. Harivansh Rai<br />

Bachhan was the first to translate Macbeth<br />

and Othello in verse in Hindi (in 1956 and<br />

1958 respectively). Dr. Bachan’s son Amitabh<br />

of course became the greatest of all Indian<br />

screen superstars.<br />

<br />

<br />

<br />

<strong>Shakespeare</strong> has seeped into the very idiom<br />

of Bollywood and we can find references to it<br />

in unexpected places. In Deewar [The Wall]<br />

(1975) for instance, the mother disapproves<br />

of her son’s nefarious doings and tells him<br />

that “all the water in the world cannot wash<br />

your hands clean of your sins”. The popular<br />

comedic villain Ajit invokes <strong>Shakespeare</strong><br />

while getting rid of his victim in one movie,<br />

instructing his henchman: “Give him the<br />

Hamlet poison, he’ll continue to be lost in a<br />

haze of to be or not to be!” <br />

36 SHAKESPEARE magazine

Interview: James Shapiro<br />

Photo: Mary Cregan<br />

All the<br />

World ’s a...<br />

Screen<br />

As well as being an authority<br />

on <strong>Shakespeare</strong>, James Shapiro<br />

<br />

<br />

<br />

<br />

38 SHAKESPEARE magazine

“I<br />

cast my lot with those<br />

who think that if<br />

<strong>Shakespeare</strong> were<br />

around today he’d be<br />

making movies. It’s an<br />

art form that would have suited his<br />

gifts – and his desire to reach a huge<br />

audience –perfectly.<br />

“The first film I remember seeing was<br />

Laurence of Arabia. I was seven in 1962<br />

when my parents took my brother, sister and<br />

I. The thrill of seeing a widescreen film in a<br />

dark moviehouse is fixed in my memory.<br />

“It’s a rare day when I don’t see a film,<br />

or part of one – though given my crazed<br />

schedule, more often than not on video. I<br />

find it to be the most absorbing art form out<br />

there and endlessly surprising – and I try to<br />

draw on its lessons when writing my books.<br />

“When I wrote 1599, for example, I tried<br />

to imagine the opening scene in which a<br />

theatre is hurriedly dismantled and moved<br />

across the Thames on a wintry December day<br />

as the basis for a film script.”<br />

Interview: James Shapiro <br />

Bradley Cooper<br />

harangues Jennifer<br />

Lawrence in Silver<br />

Linings Playbook.<br />

Silver Linings Playbook<br />

“I love romantic comedy but hate romantic<br />

comedies. The jokes are never funny enough<br />

and the comic timing is always slightly off. I<br />

even feel this way about <strong>Shakespeare</strong>’s Twelfth<br />

Night. So it wasn’t until a third friend told<br />

me that I had to see Silver Linings Playbook<br />

that I finally gave in.<br />

“I loved this movie. Not because of the<br />

“I loved Silver Linings<br />

Playbook because its timing<br />

was absolutely perfect. Every<br />

joke worked. Every scene set<br />

up the next”<br />

amazing chemistry of Bradley Cooper and<br />

Jennifer Lawrence, or because De Niro came<br />

close to stealing the show, but because its<br />

timing was absolutely perfect. Every joke<br />

worked. Every scene set up the next. It was<br />

like experiencing a perfect downhill run on<br />

skis. I left drained and very happy.”<br />

Lore<br />

“I was in London recently and dropped by<br />

the Renoir, my favourite movie house in the<br />

world, where Lore was playing. I had never<br />

heard of the film but thought I’d take a<br />

chance.<br />

“I’ve seen or read scores of films and<br />

books about the Holocaust and anti-Semitism<br />

(and even wrote one about Oberammergau<br />

and its Passion Play, which Hitler so loved)<br />

SHAKESPEARE magazine 39

Interview: James Shapiro<br />

An acclaimed<br />

performance by<br />

Saskia Rosendahl<br />

in Lore.<br />

but I’ve never seen a work that captured so<br />

powerfully what happens when ideology and<br />

reality collide.<br />

“Lore’s struggle to reconcile what she<br />

feels with what she has been taught to believe<br />

– perfectly rendered by Saskia Rosendahl –<br />

continues to haunt me.”<br />

Man on Fire<br />

“For sheer visceral pleasure, my all-time<br />

favourite film is Man on Fire, starring Denzel<br />

Washington. Some films hit you in the gut,<br />

some in the heart, some in the head. This<br />

thriller gets you in the gut.<br />

“I’ve probably watched it 20 times since<br />

it first came out in 2004 and never tire of<br />

viewing it. As someone who teaches and<br />

writes about Hamlet and revenge plays,<br />

Still burning:<br />

Denzel<br />

Washington in<br />

Man on Fire.<br />

I’m fascinated by what makes for a perfect<br />

revenge story. The best revenge is both<br />

mimetic and belated – in other words, an<br />

avenger needs to take his time and inflict<br />

just the right punishment on those who have<br />

done wrong.<br />

“The director of Man on Fire, Tony Scott,<br />

understands the mechanics of the revenge<br />

plot perfectly. Denzel Washington has done<br />

a lot of good work, but his performance as<br />

Creasy, a burned-out former CIA agentturned-bodyguard,<br />

is just amazing.<br />

“I also love Christopher Walken’s cameo.<br />

Just thinking about this film makes me want<br />

to watch it again.”<br />

Paisan<br />

“Flipping through the movie channels the<br />

other night I came upon a film I had never<br />

heard of but will now return to: Roberto<br />

Rosselli’s 1946 black-and-white masterpiece<br />

Paisan, the closest thing to a great short-story<br />

collection on film.<br />

“I wondered how I had gone through life<br />

without having heard of, let alone seen, such<br />

a brilliant work, one that made me feel, as<br />

no other art form ever has, what it was like<br />

to have lived through the final and terrifying<br />

months of the Second World War in Italy.”<br />

A Columbia University professor,<br />

James Shapiro is the author of 1599: A Year<br />

in the Life of William <strong>Shakespeare</strong> and<br />

Contested Will: who wrote <strong>Shakespeare</strong>?<br />

and editor of <strong>Shakespeare</strong> in America.<br />

More from: www.jamesshapiro.net<br />

Parts of this interview originally appeared in<br />

Cineworld <strong>Magazine</strong>.<br />

40 SHAKESPEARE magazine

Diary: Brooke Thomas<br />

Working at <strong>Shakespeare</strong>’s Globe is a dream job<br />

for countless Bard fans – but what’s it really like<br />

behind that hallowed stage? Brooke Thomas<br />

reveals all in her Diary of a Globe Researcher<br />

Around the<br />

Globe in a day<br />

<br />

<br />

<br />

<br />

<br />

<br />

<br />

<br />

<br />

<br />

<br />

<br />

<br />

<br />

<br />

<br />

<br />

<br />

<br />

round t<br />

<br />

<br />

<br />

42 SHAKESPEARE magazine

Diary: Brooke Thomas <br />

This isn’t the best<br />

picture of the Globe,<br />

but it’s what I see as I<br />

walk across the river to<br />

work, and I don’t mind<br />

admitting that even six<br />

months into my time at<br />

Globe Education, this<br />

sight still makes me feel<br />

like a kid in candy shop.<br />

Bottom’s not bad company,<br />

but he keeps going on<br />

about how he can do my<br />

job better than I can.<br />

he Glob<br />

Here I am with Bottom working on an Antony and<br />

Cleopatra research document in the library. We try to<br />

use original sources as much as possible. This isn’t only<br />

a reliable way to research our productions, but has the<br />

added benefit of involving early modern woodcuttings,<br />

which are hilarious 80% of the time.<br />

SHAKESPEARE magazine 43

Diary: Brooke Thomas<br />

Every day, or more accurately, when we<br />

remember, a member of the team adds<br />

a favourite quote to this whiteboard<br />

in the library. We try to tie it in with<br />

whatever’s currently on in the theatres,<br />

but mostly it’s a bit of fun. There’s<br />

a slight ‘who can think of the most<br />

obscure, but still poignant, <strong>Shakespeare</strong><br />

quote’ competitive thing going on, but<br />

that’s to be expected in this hive of<br />

<strong>Shakespeare</strong> enthusiasts.<br />

I’m not sure whether this one<br />

wins or breaks the rules by<br />

not technically being a quote.<br />

Hmmm.<br />

I’m particularly fond<br />

of this quote from The<br />

Tempest, they’re not just<br />

using me as an extra<br />

whiteboard.<br />

My second favourite place at the Globe is the<br />

green room. Sadly there were no matinée actors<br />

around, and everyone else must’ve been out<br />

enjoying the sunshine, so I had a nice quiet lunch<br />

with Sam.<br />

You can always hear what’s going on in<br />

the theatres next door while you’re in the green<br />

room, it’s one of the reasons I spend so much time<br />

lobe in<br />

working in there. You hear the cheers, laughter,<br />

and groans of the audience, and even if there’s<br />

no show on there’ll musicians rehearsing, or<br />

actors, or you might catch the tail end of a tour.<br />

Of course, some days, like this day, all you<br />

hear are the saws and drills of set builders.<br />

Ah well, it can’t always poetry and lutes.<br />

44 SHAKESPEARE magazine

Diary: Brooke Thomas <br />

I’ve only been in my favourite place in the building once, but<br />

it still beats the green room, the library, and the theatres hands<br />

down for me. Stepping into the tiring house at <strong>Shakespeare</strong>’s<br />

Globe feels like walking into a cathedral. It’s just a small, dark<br />

space, just a room, but there’s something about the smell of warm<br />

wood and the sunlight filtering through the grates that inspires<br />

awe-filled silence. There’s nothing quite like the excitement and<br />

apprehension that you feel when those doors open inwards, light<br />

floods the sanctuary of the tiring house, and you see the ‘wooden<br />

o’ from the actor’s point of view.<br />

<strong>Shakespeare</strong>’s<br />

Globe<br />

The Globe theatre, and the new<br />

Jacobean playhouse next door, are<br />

the vision of American actor and<br />

director Sam Wanamaker. Sam worked<br />

tirelessly from 1970 until his death in<br />

1993 to bring <strong>Shakespeare</strong>’s theatre<br />

back to London. The third and current<br />

incarnation of <strong>Shakespeare</strong>’s Globe<br />

opened on London’s Bankside in<br />

1997, just a street closer to the river<br />

<br />

Globe was opened in 1599 by the<br />

Lord Chamberlain’s Men. It hosted<br />

<br />

<strong>Shakespeare</strong>’s greatest works, including<br />

Macbeth, Hamlet, and King Lear.<br />

Fun fact: the sofas in our green room are<br />

comically oversized. They’re on a platform<br />

and they’re twice as deep as any sofa I’ve<br />

ever seen.<br />

This is technically to accommodate<br />

the huge costumes our actors wear, but it’s<br />

also good for curling up with a cup of tea<br />

and definitely not falling asleep because<br />

it’s so comfortable. Never. Not even once.<br />

Certainly not on a regular basis.<br />

a day<br />

<br />

<br />

A breath of fresh<br />

air overlooking<br />

the river Thames<br />

on the roof<br />

terrace.<br />

SHAKESPEARE magazine 45

Contributors <br />

Brooke Thomas is a post-graduate<br />

student of <strong>Shakespeare</strong> in her early<br />

twenties. She learnt to love the Bard<br />

during her BA at Royal Holloway,<br />

University of London, and is<br />

currently a researcher at <strong>Shakespeare</strong>’s<br />

Globe. Brooke also writes fiction and<br />

hosts a short story competition called<br />

#SmallTales on Twitter. Her days off<br />

consist of tea, cake, and Doctor Who.<br />

You can find her at<br />

www.literarygeek.co.uk<br />

Emma Gutteridge Originally from<br />

Cambridgeshire, Emma is graduating<br />

from Winchester University this year<br />

with a degree in Drama. She will be<br />

attending Drama Studio London in the<br />

new academic year to study Professional<br />

Acting. Her love of <strong>Shakespeare</strong> stems<br />

from her involvement in a production<br />

of A Midsummer Night’s Dream at<br />

school, and she has since performed in<br />

four <strong>Shakespeare</strong> plays. Most recently<br />

she played Laertes/Guildenstern<br />

in Hamlet with Winchester-based<br />

Platform 4.<br />

Tom Phillips is a poet and<br />

playwright living in Bristol. His<br />

work includes the poetry collection<br />

Recreation Ground (Two Rivers<br />

Press, 2<strong>01</strong>2) and the plays 100 Miles<br />

North of Timbuktu (Theatre West,<br />

Bristol, 2<strong>01</strong>3) and Prella’s Gift (Show<br />

of Strength, Bristol, 2<strong>01</strong>2). He is a<br />

founder member of the international<br />

arts network Culture Exchange<br />

Experiment and the online Anglo-<br />

Bulgarian collaborative arts project<br />

Colourful Star.<br />

Meet thy makers...<br />

Just some of the contributors to this issue of <strong>Shakespeare</strong> <strong>Magazine</strong><br />

Helen Mears teaches English<br />

Literature, Film and Media Studies<br />

at a Further Education college in<br />

Ipswich. She has loved <strong>Shakespeare</strong><br />

since her schooldays and at weekends<br />

can be found volunteering at The<br />

Globe or the Sam Wanamaker<br />

Playhouse. She is currently studying<br />

for an MA in the Advanced Teaching<br />

of <strong>Shakespeare</strong>. She is at her happiest<br />

when watching <strong>Shakespeare</strong>,<br />

exploring castles and monastic ruins<br />

or listening to Fall Out Boy.<br />

Koel Chatterjee is an English<br />

language tutor and examiner as<br />

well as a PhD candidate at Royal<br />

Holloway, University of London.<br />

Her field of research is <strong>Shakespeare</strong>an<br />

appropriations and adaptations in the<br />

Hindi film industry in post-colonial<br />

India. She runs the blog<br />

www.muchadoaboutshakespeare.com<br />

and is co-organiser of the <strong>Shakespeare</strong><br />

and Bollywood Conference.<br />

Hannah Tribe is a young Welsh<br />

artist with “a passion for making”.<br />

She studied Drawing and Applied<br />

Art at the University of the West<br />

of England. Here, she developed<br />

an interest in creating work using<br />

techniques associated with notions<br />

of traditional female craft. In so<br />

doing, she attempts to address “the<br />

everyday conflicts between feminism<br />

and femininity”. She continues<br />

to experiment with works in<br />

embroidery, floristry, cake decoration<br />

and ceramics.<br />

SHAKESPEARE magazine 47

Curtain <br />

MICKEY<br />

ROONEY<br />

(1920-2<strong>01</strong>4)<br />

“If we shadows have offended,<br />

Think but this, and all is mended,<br />

That you have but slumbered here<br />

Whilst visions did appear.<br />

And this weak and idle theme,<br />

No more yielding but a dream,<br />

Gentles, do not reprehend,<br />

If you pardon, we will mend...<br />

Else the Puck a liar call<br />

So, good night unto you all.<br />

Give me your hands, if we be<br />

friends,<br />

And Robin shall restore amends.”<br />

A teenage Rooney bids farewell<br />

<br />

<br />

SHAKESPEARE magazine 49

Next issue<br />

We hope you’ve enjoyed Issue One of <strong>Shakespeare</strong> <strong>Magazine</strong>.<br />

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

delights we’ll be unfurling for your pleasure...<br />


An army of <strong>Shakespeare</strong> experts descend on one of the world’s<br />

<br />

<br />

Macbeth at the Movies<br />

From Kurosawa to Fassbender, the Scottish Play on<br />

the silver screen.<br />

<br />

<br />

<br />

<strong>Shakespeare</strong>’s Greatest Hits<br />

From Cole Porter to Elvis Costello, every great songwriter<br />

has a touch of the Shakes...<br />

Being <strong>Shakespeare</strong><br />

Meet the actors who make a living by playing the Bard.<br />

50 SHAKESPEARE magazine

13 Feb - 2 May 2<strong>01</strong>4<br />

Tobacco Factory Theatres, Bristol<br />

Raleigh Road, Bristol, BS3 1TF<br />

<strong>01</strong>17 902 0344<br />

www.tobaccofactorytheatres.com<br />

6 - 10 May<br />

Stephen Joseph Theatre, Scarborough<br />

Westborough, Scarborough,<br />

N Yorks, YO11 1JW<br />

<strong>01</strong>723 370541<br />

www.sjt.uk.com<br />

13 - 17 May<br />

Everyman Theatre, Cheltenham<br />

Regent Street, Cheltenham, GL50 1HQ<br />

<strong>01</strong>242 572573<br />

www.everymantheatre.org.uk<br />

20 - 24 May<br />

Hall for Cornwall<br />

Lemon Quay, Truro, TR1 2LL<br />

<strong>01</strong>872 262466<br />

www.hallforcornwall.co.uk<br />

3 - 7 June<br />

Theatre Royal, Winchester<br />

21-23 Jewry Street, Winchester,<br />

Hants SO23 8SB<br />

<strong>01</strong>962 840440<br />

www.theatreroyalwinchester.co.uk<br />

10 - 14 June<br />

Exeter Northcott Theatre<br />

Stocker Road, Exeter, EX4 4QB<br />

<strong>01</strong>392 493 493<br />

www.exeternorthcott.co.uk<br />

17 - 21 June<br />

Salisbury Playhouse<br />

Malthouse La, Salisbury, Wilts, SP2 7RA<br />

<strong>01</strong>722 320 333<br />

www.salisburyplayhouse.com<br />

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