Shakespeare Magazine 03

The third issue of Shakespeare Magazine catches World Cup fever with the Shakespeare Guide to Brazil. Other highlights include Shakespeare's Cleopatra on screen, an exclusive interview with Shakespeare star Jamie Parker, an epic Henry IV in Washington DC, an array of beautiful French Shakespeare costumes and one intrepid actor's Shakespeare journey of facial hair!

The third issue of Shakespeare Magazine catches World Cup fever with the Shakespeare Guide to Brazil. Other highlights include Shakespeare's Cleopatra on screen, an exclusive interview with Shakespeare star Jamie Parker, an epic Henry IV in Washington DC, an array of beautiful French Shakespeare costumes and one intrepid actor's Shakespeare journey of facial hair!


You also want an ePaper? Increase the reach of your titles

YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.

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


FREE<br />

Issue 3<br />

Hail<br />

Cleopatra!<br />

A screen history<br />

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

most fascinating<br />

femme fatale<br />

South<br />

America<br />

Shakes!<br />

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

Guide to Brazil<br />

Unto the<br />

Breach<br />

Love, war and<br />

Henry V with<br />

the Globe’s<br />

Jamie Parker<br />

The<br />

Politics of<br />

Power<br />

Staging Henry IV<br />

in Washington DC<br />

Shakesbeard!<br />

One actor’s amazing<br />

journey of Bard-related<br />

facial hair<br />

Celebrating<br />

The life and works of<br />

William <strong>Shakespeare</strong>

Hour-Long <strong>Shakespeare</strong><br />

expertly abridged for performance and as an introduction to <strong>Shakespeare</strong>’s greatest plays<br />

VOL ONE<br />

Henry IV, Part 1, Henry V AND Richard III<br />

VOL TWO<br />

Romeo and Juliet, Macbeth AND Julius Caesar<br />

‘Matthew Jenkinson’s careful alterations of some of <strong>Shakespeare</strong>’s<br />

most important plays may give us less than 50% of each play’s<br />

lines, but they convey far more than that percentage of each play’s<br />

theatrical power. Moreover, they belong 100% to the highest<br />

traditions of both teaching and performing <strong>Shakespeare</strong>’s plays’.<br />

Professor Michael Dobson, Director of the<br />

<strong>Shakespeare</strong> Institute, Stratford-upon-<br />

Avon, and Professor of <strong>Shakespeare</strong><br />

Studies, University of Birmingham<br />

Order now from<br />

www.johncattbookshop.com<br />

Coming soon: Vol 3: A Midsummer<br />

Night’s Dream,<br />

Twelfth Night and<br />

The Tempest

Welcome <br />

Welcome<br />

to Issue 3 of <strong>Shakespeare</strong> <strong>Magazine</strong><br />

Photo: David Hammonds<br />

This issue was originally released in July 2014. The Rio<br />

World Cup was in progress, so we came up with a cover<br />

design inspired by Brazil’s national colours. This was<br />

intended to flag up our story on <strong>Shakespeare</strong>’s cultural<br />

influence in Brazil, you see. But sadly, the issue was<br />

nowhere near as successful as the ones that came before and<br />

after. With hindsight, I can understand now that when<br />

people looked at that cover they just didn’t see <strong>Shakespeare</strong>.<br />

And that’s a shame, because I think this issue contains some of<br />

our very best work. And I feel that I let down my contributors by not<br />

finding them a bigger audience.<br />

So here we are again, 17 months later. It’s the same issue, but it has<br />

an all-new cover, one that leaves you in no doubt that we’re all about<br />

The Bard.<br />

Inside you’ll find the aforementioned <strong>Shakespeare</strong> Guide to Brazil<br />

and a wealth of other features including a history of <strong>Shakespeare</strong>’s<br />

Cleopatra on screen, a rousing interview with Globe actor Jamie Parker,<br />

and a beautiful collection of French <strong>Shakespeare</strong> costumes.<br />

If you’ve already read this one, then I thank you for joining us again.<br />

If it’s your first time, then I hope you’ll read it avidly and share it with<br />

your friends.<br />

But above all, enjoy your magazine.<br />

Pat Reid, Founder & Editor<br />

SHAKESPEARE magazine 3

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


FREE<br />

Issue 3<br />

Contents<br />

Hail<br />

Cleopatra!<br />

A screen history<br />

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

most fascinating<br />

femme fatale<br />

South<br />

America<br />

Shakes!<br />

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

Guide to Brazil<br />

Celebrating<br />

The life and works of<br />

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

Unto the<br />

Breach<br />

Love, war and<br />

Henry V with<br />

the Globe’s<br />

Jamie Parker<br />

The<br />

Politics of<br />

Power<br />

Staging Henry IV<br />

in Washington DC<br />

Shakesbeard!<br />

One actor’s amazing<br />

journey of Bard-related<br />

facial hair<br />

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

Issue Three<br />

July 2014<br />

Founder & Editor<br />

Pat Reid<br />

Art Editor<br />

Paul McIntyre<br />

Staff Writers<br />

Mary Finch<br />

Brooke Thomas<br />

Writers<br />

Francesca Amendolia<br />

Zoe Bramley<br />

Tony Howard<br />

Livia Lakomy<br />

Kate Madison<br />

Helen Mears<br />

Christopher Tomkinson<br />

Photography<br />

Piper Williams<br />

Thank You<br />

Mrs Mary Reid<br />

Mr Peter Robinson<br />

Web design<br />

David Hammonds<br />

Contact Us<br />

shakespearemag@outlook.com<br />

Twitter<br />

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

Website<br />

www.shakespearemagazine.com<br />

Much ado about Rio 6<br />

“There’s an awful lot of coffee in Brazil,” sang Frank Sinatra. And, as we<br />

discovered, there’s also a decent amount of <strong>Shakespeare</strong>.<br />

<br />

4 SHAKESPEARE magazine

Contents <br />

Screen siren 14<br />

Quite possibly the most famous woman in recorded history, Cleopatra came<br />

to <strong>Shakespeare</strong> via Plutarch, and to 20th century audiences via cinema and TV...<br />

<br />

“Beard to<br />

beard...” 24<br />

One actor. Several <strong>Shakespeare</strong>an<br />

roles. And a staggering amount of<br />

facial hair.<br />

<br />

Washington<br />

heights 28<br />

For 20 years, director Michael Kahn<br />

dreamed of staging Henry IV, Parts<br />

1 and 2 in the US capital. In 2014 he<br />

made it happen.<br />

<br />

The history<br />

man 34<br />

From Hal to Henry to Hamlet,<br />

ex-History Boy Jamie Parker is the<br />

thinking man as actor.<br />

<br />

“See you these<br />

clothes?” 40<br />

There are some things the French do<br />

better than anyone else. Wine, cheese,<br />

kings named Louis... and absolutely<br />

stunning <strong>Shakespeare</strong> costumes.<br />

<br />

SHAKESPEARE magazine 5

The <strong>Shakespeare</strong> Guide to Brazil<br />

6 SHAKESPEARE magazine

The <strong>Shakespeare</strong> Guide to Brazil <br />

“<strong>Shakespeare</strong> is now well<br />

on his way to becoming a<br />

national treasure in Brazil”<br />

We may have crashed<br />

out of the World Cup in<br />

less than glorious style,<br />

but one English player<br />

has scored big in Rio and<br />

beyond. Livia Lakomy<br />

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

Guide to Brazil!<br />

<br />

SHAKESPEARE magazine 7

The <strong>Shakespeare</strong> Guide to Brazil<br />

!hakespeare and Brazil. Brazil and <strong>Shakespeare</strong>. For all the talk of the<br />

Bard’s universality, it took some 200 years after his death for these words<br />

to fit together. There is no indication that <strong>Shakespeare</strong> had ever heard of<br />

Brazil – back then just a colony of Portugal – or that he thought of that<br />

part of the world as anything more than ‘the West Indies’, a continent of<br />

Calibans. In the past century, however, Brazilians have adapted – and<br />

adopted – <strong>Shakespeare</strong> enough times and with sufficient quality that he<br />

is now well on his way to becoming a national treasure.<br />

Actor and theatre impresario<br />

<br />

produce and act in a Brazilian<br />

adaptation of the Bard.<br />

8 SHAKESPEARE magazine

The <strong>Shakespeare</strong> Guide to Brazil <br />

The Real Theatro<br />

São João was the<br />

<br />

inaugurated in1813.<br />

<br />

Jean-Baptiste Debret.<br />

.'+-)/(##0-"1<br />

William <strong>Shakespeare</strong> had long been<br />

considered immortal before he made his<br />

mark on the Brazilian stage. In fact, there was<br />

little happening worthy of note on Brazilian<br />

stages before the Portuguese royal family<br />

ran away from Napoleon and settled in Rio<br />

de Janeiro in 1808. It was actor and theatre<br />

impresario João Caetano who, starting in<br />

1835, mounted the first national productions<br />

of Hamlet, Othello and company and made<br />

them a hit. It was through his work that the<br />

words <strong>Shakespeare</strong> and Brazil started going<br />

together.<br />

.#1+)%2)!"'21('+%#2<br />

The <strong>Shakespeare</strong> known in Brazil throughout<br />

the 1830s and ’40s had very little to do<br />

with the one born in Stratford-upon-<br />

Avon. The translations used as basis for the<br />

performances had been made not from the<br />

English originals, but from less-than-faithful<br />

French texts. Instead of <strong>Shakespeare</strong>’s wit<br />

and wisdom, audiences were presented<br />

with watered-down melodramas. Direct<br />

translations started being published only in<br />

the 1930s. But by the end of the century,<br />

readers and performers could chose from<br />

a variety of translations of almost all of his<br />

plays.<br />

From the Canadian<br />

Slings & Arrows to the<br />

Brazilian Som e Fúria<br />

a mini-series directed<br />

<br />

Fernando Meirelle.<br />

“Whenever <strong>Shakespeare</strong> is<br />

disguised as something else, he<br />

becomes a hit in Brazil”<br />

!"#$%&'()*+,-((#<br />

Who knew <strong>Shakespeare</strong> had the answer<br />

for one of Brazil’s most persisting literary<br />

questions? For decades, readers and critics<br />

have wondered about Dom Casmurro,<br />

the 1899 literary masterpiece by Machado<br />

de Assis. Did heroine Capitu really cheat<br />

on narrator Bento Santiago? According to<br />

Bento, yes – she was Desdemona, but guilty.<br />

Even though Machado openly uses Othello<br />

as a source, it was only in the 1960s that<br />

American critic Helen Caldwell made the link<br />

explicit and therefore made the case not only<br />

for Capitu but also for <strong>Shakespeare</strong>’s seminal<br />

impact on Brazilian literature.<br />

SHAKESPEARE magazine 9

The <strong>Shakespeare</strong> Guide to Brazil<br />

“Writing about<br />

football, Nelson<br />

Rodrigues made<br />

every match<br />

into a battle of<br />

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

proportions, as well<br />

as a metaphor for<br />

life”<br />

<br />

<br />

Tarsila do Amaral) coined the<br />

<br />

10 SHAKESPEARE magazine

The <strong>Shakespeare</strong> Guide to Brazil <br />

.,(/,'0($10--*20(*+3<br />

It seems logical that master wordsmith<br />

William <strong>Shakespeare</strong> would inspire great<br />

wordplay. Poet and cultural agitator Oswald<br />

de Andrade, in a brilliant turn of phrase,<br />

appropriated from him when defining the<br />

modernist movement he helped create in<br />

the 1920s: “Tupi or not Tupi, that is the<br />

question.” By mentioning the native-Brazilian<br />

tribe of the Tupis, he was asking the country<br />

an existential question worthy of Hamlet:<br />

what constitutes Brazilian art? The answer:<br />

anything that can be cannibalised and made<br />

your own, including 16th century English<br />

playwrights.<br />

Nothing to do with<br />

<br />

these images (from<br />

an exhibition of<br />

<br />

<br />

Brazil’s magic and<br />

<br />

!"#$%&'()$*+$'&,-)<br />

Though <strong>Shakespeare</strong> is incomparable,<br />

every country must have a playwright they<br />

can claim as their own Bard. In Brazil, the<br />

title deservedly goes to Nelson Rodrigues.<br />

Among other things, Rodrigues was a<br />

football aficionado. Writing about the<br />

beautiful game, he made every match into a<br />

battle of <strong>Shakespeare</strong>an proportions, as well<br />

as a metaphor for life. Would <strong>Shakespeare</strong><br />

approve? Well, he was the one who once<br />

wrote: “Am I so round with you as you<br />

with me, that like a football you do spurn<br />

me thus?”<br />

SHAKESPEARE magazine 11

The <strong>Shakespeare</strong> Guide to Brazil<br />

!"#$%"&'#$()*+<br />

One would like to call her our ‘Dark Lady’<br />

but in her 90th year of life, Brazil’s greatest<br />

eminence in all things <strong>Shakespeare</strong>an,<br />

Barbara Heliodora, gives the impression of<br />

having always been white-haired – and wise.<br />

Translator, critic, essayist and academic, she<br />

once noted that “Portugal’s lack of theatrical<br />

tradition was passed on to Brazil. The<br />

Americans were colonised like us, but they<br />

got to inherit <strong>Shakespeare</strong> and company<br />

from their colonisers.” In her decades of work<br />

Heliodora has taken it upon herself to change<br />

this story.<br />

Soap opera <br />

e a Rosa: Petruchio<br />

and Catarina get<br />

married in 1920s<br />

Brazil.<br />

,$(&-&./$01)2<br />

Soap operas are one of Brazil’s biggest exports<br />

and it’s no surprise that many of their plots<br />

come from <strong>Shakespeare</strong>. Perhaps the most<br />

obvious and beloved example is that of<br />

2000’s O Cravo e a Rosa which, in spite<br />

of its title (literally ‘The Carnation and the<br />

Rose’), owes its main plot to The Taming<br />

of the Shrew. Without bothering to change<br />

character names, the action is transposed<br />

to 1920s Brazil. The soap was such a hit<br />

that it has already been re-aired twice in the<br />

appropriately named programme Worth<br />

Seeing It Again.<br />

12 SHAKESPEARE magazine

The <strong>Shakespeare</strong> Guide to Brazil <br />

!"#$%&'$%&(#)*<br />

It seems that whenever <strong>Shakespeare</strong> is<br />

disguised as something else, he becomes a hit<br />

in Brazil. As soon as his name is brought up<br />

in the actual plot, however, his reputation<br />

for being ‘too difficult’ gets in the way of<br />

popular acclaim. An example is the 2009 TV<br />

mini-series Som & Fúria, based on Canada’s<br />

excellent Slings & Arrows. Directed by Oscar<br />

nominee Fernando Meirelles, and doing its<br />

best to adapt <strong>Shakespeare</strong> to Brazilian reality,<br />

it just wasn’t popular enough to warrant a<br />

second season. But you should check out the<br />

DVD box-set.<br />

+&$,-&./"0,<br />

Following in <strong>Shakespeare</strong>’s footsteps – in his<br />

theatrical entrepreneur version – a Brazilian<br />

producer aims to build his own replica of the<br />

Globe Theatre by 2016, a project reportedly<br />

approved by <strong>Shakespeare</strong>’s Globe in London.<br />

His plans include not only the playhouse, but<br />

an entire cultural centre that will promote a<br />

series of events and festivals. If all the world’s<br />

a stage, why not a Globe stage in the Brazilian<br />

countryside? It certainly bodes well for the<br />

future of Brazil’s captivating cultural romance<br />

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

<br />

Barbara Heliodora: decades of work making<br />

<strong>Shakespeare</strong> accessible to Brazilians.<br />

<br />

<br />

go to the circus in Brazil.<br />

12+3454+6&!7+89!:9+29&;65469<br />

It has never been easier to fall in love with <strong>Shakespeare</strong>’s<br />

work – it seems to be everywhere. A simple internet search<br />

will result in his complete works, numerous adaptations and<br />

basically all the information you need. That is, of course, if<br />

you are fluent in English – which most Brazilians aren’t. To<br />

remedy this situation, several websites have been created in<br />

the past few years to make information about <strong>Shakespeare</strong><br />

available in Portuguese. Some examples are Instituto<br />

<strong>Shakespeare</strong> http://www.institutoshakespeare.com.br and<br />

<strong>Shakespeare</strong> Digital http://www.shakespearedigitalbrasil.<br />

com.br<br />

One of the web’s best sources for performances of<br />

<strong>Shakespeare</strong> is MIT’s Global <strong>Shakespeare</strong> Video &<br />

Performance Archive. Alongside adaptations from around<br />

the globe, Brazil is very well represented and, of the two<br />

dozen or so archives available, the best known is of Grupo<br />

Galpão’s Romeo and Juliet, performed at <strong>Shakespeare</strong>’s<br />

Globe Theatre. This performance exemplifies the approach<br />

Brazilians take to <strong>Shakespeare</strong> – make it your own. Also<br />

worth a look on the website are Companhia Bufomecânica,<br />

Nós do Morro and Clowns de <strong>Shakespeare</strong>.<br />

http://globalshakespeares.mit<br />

SHAKESPEARE magazine 13

Cleopatra<br />

Screen<br />

Carry on Cleo:<br />

Cabaret performer<br />

Meow Meow<br />

channels Cleopatra<br />

in this recent image.<br />

14 SHAKESPEARE magazine

Cleopatra <br />

Capricious, complex and<br />

endlessly fascinating, Cleopatra<br />

is the most challenging of<br />

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

Tony Howard explores cinema<br />

and television’s many attempts<br />

to capture her elusive essence.<br />

<br />

SHAKESPEARE magazine 15

Cleopatra<br />

Cleopatra depicted in<br />

an 1888 oil painting<br />

by John William<br />

Waterhouse.<br />

n 1970 Charlton Heston asked Orson Welles to direct him in<br />

a film of <strong>Shakespeare</strong>’s Antony and Cleopatra.<br />

Orson: “Do you have a great Cleopatra?”<br />

Charlton: “We’ll pick an actress and you make her great.”<br />

Orson: “Believe me, if you don’t find a great Cleopatra, you<br />

can’t do this play.”<br />

Some <strong>Shakespeare</strong> plays, like Macbeth and Hamlet, have<br />

been filmed again and again. But not this one. Why?<br />

16 SHAKESPEARE magazine

Cleopatra <br />

Eve Best as Cleopatra and Clive<br />

Wood as Antony in Jonathan<br />

Munby’s Antony and Cleopatra<br />

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

Cleopatra fascinated late-Victorian painters<br />

and theatre managers alike. She’s at the heart<br />

of countless opulent paintings drenched<br />

in eroticism, orientalism and late-imperial<br />

splendour. The actresses who played<br />

Cleopatra – and drew crowds in to see her<br />

boudoir – included in 1891 the Prince of<br />

Wales’ mistress Lily Langtry, which blurred<br />

the line between scandal and art. Inevitably,<br />

film directors became fascinated too.<br />

Cleopatra: the movie<br />

From the moment that pictures could<br />

move, Cleopatra became a fantasy figure for<br />

spectators in the dark. Her mummy came<br />

to life in a Méliès short in 1899. Later the<br />

‘vamp’ Theda Bara played her in a silent<br />

epic based on a French drama by Victorien<br />

Sardou and a red-blooded H. Rider Haggard<br />

novel, plus some moments suggested by<br />

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

Films about Cleopatra and her last lover<br />

always recall <strong>Shakespeare</strong> slightly because he<br />

followed his historical source, Plutarch’s Life<br />

of Antony, so closely and made its images<br />

iconic. But of course wordless silent cinema<br />

could only mimic scraps of the ‘infinite<br />

variety’ of <strong>Shakespeare</strong>’s Queen. It could offer<br />

passion, suffering and splendour but not her<br />

intelligence and wit. And as the Italian film<br />

mogul Carlo Ponti warned Charlton Heston,<br />

“It’s a poem play.”<br />

Even when sound came in, poetry<br />

“Charlton Heston reaffirmed<br />

the old theatre myth that<br />

Cleopatra was an impossible<br />

role, in which any actress<br />

must fail”<br />

frightened film-makers. In Cleopatra (1934)<br />

Claudette Colbert was delightfully playful<br />

and ironic, but her director Cecil B DeMille<br />

still relied on spectacle to make his mark. So<br />

instead of hearing Enobarbus’ great speech<br />

“The barge she sat in...”, moviegoers saw an<br />

astonishing symbolic sequence inspired by it.<br />

While men whipped leopard-skinned dancing<br />

girls, Cleopatra wined and dined Antony<br />

inside the massive uterine interior of her ship.<br />

As their passion mounted, its inner walls slid<br />

into slow rhythmic life. A drummer pounded.<br />

Tiered rows of oars pulsed back and forward.<br />

Symphonic music soared.<br />

Many <strong>Shakespeare</strong> plays were filmed in<br />

the years that followed, but not Antony and<br />

Cleopatra. Yet Charlton Heston called it<br />

SHAKESPEARE magazine 17

Cleopatra<br />

“After a century of male directors, two eminent<br />

Cleopatras took control of the play – Janet Suzman<br />

and Vanessa Redgrave both directed it twice”<br />

“<strong>Shakespeare</strong>’s best screenplay”. The attraction<br />

of this empire-toppling romance was<br />

especially obvious to a star who’d made his<br />

name in Biblical epics, so when Orson Welles<br />

said no, Heston directed it himself – and used<br />

discarded battle footage from Ben Hur.<br />

Antony: the epic<br />

Though Heston’s Antony and Cleopatra<br />

(1971) is little-known, in some ways he did<br />

a commendable job. His script provided a<br />

more direct narrative than <strong>Shakespeare</strong>’s.<br />

For instance, he gave Enobarbus several<br />

minor characters’ speeches to strengthen<br />

his choric role, and when Antony overhears<br />

the great ‘barge’ speech it drives him to fly<br />

Turkish star Zerrin<br />

Tekindor as Cleopatra<br />

at <strong>Shakespeare</strong>’s Globe,<br />

2012.<br />

to Cleopatra. It’s a shock-cut transition that<br />

splits the film and the world in two.<br />

The casting? Heston first thought<br />

of movie stars for Cleopatra, including<br />

Sophia Loren and Ann Bancroft from The<br />

Graduate – “I don’t know if she’s ever done<br />

<strong>Shakespeare</strong>”. He rejected “the new girl”<br />

Glenda Jackson, who certainly had “done<br />

<strong>Shakespeare</strong>” (“She’s good, but not right<br />

for Cleopatra”) and instead he settled on<br />

the inexperienced Hildegard Neil. Heston’s<br />

published journals give ambiguous insights<br />

into his priorities and his sense of the role’s<br />

demands. “She can read verse, she can act...”<br />

“...I couldn’t tell whether she’s quite up to<br />

acting Cleopatra, but she seems to have the<br />

18 SHAKESPEARE magazine

Cleopatra <br />

requisite erotic X.” After screen tests, his<br />

producers had their doubts. “Maybe so,”<br />

he wrote, “but I can’t wait for the perfect<br />

Cleopatra. Now is the time for me to play<br />

Antony.” Ignoring Orson Welles’ advice, he<br />

also ignored the demands and the complexity<br />

of the role.<br />

Heston devised some powerful action<br />

sequences to demonstrate Antony’s greatness<br />

– he fights an army single-handed, he and<br />

his horse plummet down a rock face, and<br />

while he negotiates with Octavius Caesar<br />

they watch two gladiators fight to the death.<br />

At times his passion for Cleopatra registers<br />

as brutal – he hits her – in fact almost<br />

insane. This is Antony’s tragedy, a study of<br />

humourless obsession. But Heston paid no<br />

such attention to his marginalised and undercast<br />

Queen. Hildegard Neil’s scenes are played<br />

out flirtily in a half-empty set. The basic<br />

camera set-ups and reaction-shots favour him,<br />

not her. And – crucially – she dies beside<br />

Heston’s Antony, not alone with her women.<br />

Theda Bara infamously<br />

played Cleopatra in a<br />

<br />

Reviews were bad. When the film couldn’t<br />

find a distributor in America, Heston<br />

considered a bizarre proposal to “reshoot the<br />

role of Cleopatra”. It offered “the nagging<br />

possibility of saving my lovely project.” “My<br />

lovely project” is the most revealing critique<br />

of this film.<br />

In one sense Heston’s approach wasn’t<br />

uncommon. He reaffirmed the old theatre<br />

myth that Cleopatra’s infinite variety made<br />

her an impossible role, in which any actress<br />

must fail. Laurence Olivier found it a<br />

problem that Antony, wavering unpredictably<br />

between Egypt and Rome, is only seen in<br />

decline. Typically and unsurprisingly, then,<br />

Stratford avoided Antony and Cleopatra<br />

from 1953 to 1972, the National from 1963<br />

to 1987.<br />

But meanwhile two solutions developed.<br />

To present Antony and Cleopatra as a sequel<br />

to Julius Caesar, so that we and Antony are<br />

haunted by memories of his triumphs there.<br />

And to treat this play as a study of character,<br />

of mutual infatuation in fading middleage.<br />

Putting it differently, the solution was<br />

television.<br />

Cleopatra in the house<br />

The TV screen proved itself this sprawling<br />

tragedy’s perfect home – unspectacular but<br />

intimate, more ‘real’. Two fine anti-romantic<br />

BBC versions portrayed Mary Morris (1963)<br />

and Jane Lapotaire (1981) as powerful and<br />

political mature women, grimly conscious of<br />

passing time. Their Antonies became pitiful –<br />

ashamed of their own weakness, and doomed.<br />

In 1963 Peter Dews edited three of<br />

<strong>Shakespeare</strong>’s Roman plays into a BBC<br />

serial called The Spread of the Eagle. Mary<br />

Morris, who had already been an actress for<br />

nearly 40 years, created a weather-beaten but<br />

imperious ruler, contemptuous of Rome.<br />

This monochrome small-screen Egypt (the<br />

final episode is on the BFI’s Screenonline<br />

website www.screenonline.org.uk) is a harsh<br />

enclave where the only beauty comes from<br />

the language. After nine 50-minute episodes<br />

tracing Rome’s rise from a small town<br />

(Coriolanus) into an imperial dictatorship,<br />

the death of Morris’s Cleopatra marks the end<br />

SHAKESPEARE magazine 19

Cleopatra<br />

“A Seductress.<br />

Francesca recently<br />

played Cleopatra<br />

in Antony and<br />

Cleopatra (Harrisburg<br />

<strong>Shakespeare</strong> Company,<br />

Pennsylvania, USA)<br />

A Sorceress.<br />

A Witch...”<br />

Actress Francesca Amendolia<br />

explores the illusion and reality<br />

of <strong>Shakespeare</strong>’s Cleopatra.<br />

“Cleopatra, that ‘triple-turned whore’, carries a<br />

lot of baggage. Those straight-road-building<br />

Romans could not encompass her, so they<br />

trash-talked her, their histories reducing her<br />

to an Eastern seductress, a sorceress, a witch.<br />

<strong>Shakespeare</strong> had only Roman sources, yet<br />

he saw through Roman fear and made<br />

her a still point in a whirling world of<br />

political change. Throughout the play,<br />

Antony and Octavius nervously vie<br />

for power while Cleo revels in her<br />

own authority. She is well-educated,<br />

powerful, passionate, sexual – and<br />

she owns every bit of it. Cleopatra<br />

is what every woman, every<br />

person, should aspire to be<br />

– fully and entirely herself,<br />

without apology.”<br />

Photo: Brianna Dow<br />

20 SHAKESPEARE magazine

Cleopatra <br />

<br />

of a world. Years later, Antony and Cleopatra<br />

was the first play Jonathan Miller directed<br />

for the BBC TV Complete <strong>Shakespeare</strong><br />

series. He took the whole project over,<br />

determined not to mimic Hollywood on the<br />

cheap (particularly after a disastrous Romeo<br />

and Juliet in a plywood Verona). Miller<br />

domesticated Antony and Cleopatra.<br />

Jane Lapotaire, then best known for<br />

playing Edith Piaf, stressed that the essential<br />

thing about Cleopatra was “her great<br />

charisma and intelligence”, her “inventiveness<br />

and excitement”. Her Antony, Colin Blakely,<br />

added: “Let’s face it, they are not really the<br />

most beautiful young couple in the world any<br />

more – except to each other.”<br />

Miller offered a Renaissance vision of<br />

Egypt and Rome. He based the production<br />

on works of art, especially by Veronese,<br />

and it became a series of late-Renaissance<br />

paintings come to life (limited life – there’s<br />

hardly any physical action). Here are glowing,<br />

chiaroscuro portraits of lived-in faces; great<br />

men and women are crammed into tiny<br />

rooms; the sea-battle is replaced by a painting<br />

and quotations from Plutarch. Miller exploits<br />

the camera’s power to break in on intimacy, so<br />

the opening scene is whispered (“If it be love<br />

indeed, tell me how much”) during a public<br />

procession. Lapotaire’s Queen mischievously<br />

undermines Antony’s struggle to maintain his<br />

dignity. In Miller’s interpretation, we begin<br />

close to the start of their relationship. This<br />

Antony wants to escape, and thinks he can.<br />

Miller’s team give each snatch of dialogue,<br />

each muttered confession or quarrel, great<br />

force. The text is understood – in fact<br />

characters are allowed to be inarticulate,<br />

searching for words instead of Reciting<br />

Verse. These lovers are a distraught and<br />

helpless couple – unable to control events or<br />

themselves, panicked into outrageous acts and<br />

then “frighted out of fear”. When Lapotaire’s<br />

Cleopatra picks up the asp, we see horror in<br />

her eyes, and then release.<br />

This emotional realism irritated many<br />

Joaquina Kalukango<br />

(front) as Cleopatra<br />

in the 2013 RSC<br />

production.<br />

critics – Antony and Cleopatra became the<br />

greatest soap of all time – and it’s true that<br />

Miller’s understated approach suppressed<br />

dramatic rhythm and political conflict.<br />

Another strategy for screening <strong>Shakespeare</strong>,<br />

of course, is to record a theatre performance.<br />

Can that work here? In 1972 Trevor Nunn at<br />

the RSC borrowed The Spread of the Eagle’s<br />

idea of staging the Roman plays as a cycle,<br />

and then adapted his Antony and Cleopatra<br />

for TV in a stripped-down, tightly-focused<br />

style, with little but the actors in white space<br />

or darkness.<br />

The RSC had the advantage of a powerful<br />

cast who’d played their roles for two seasons,<br />

and a visual style which surrounded them<br />

with blazing light. This evoked Egypt’s<br />

heat yet suggested transcendence. Less<br />

was more. Janet Suzman’s now-legendary<br />

Cleopatra was watchful, alluring and<br />

supremely self-confident – a passionate<br />

performer. The production looks dated now,<br />

with its museum-shop images of togas and<br />

Tutankhamen’s tomb, but it suggests grandeur<br />

“Wordless silent cinema could only mimic scraps<br />

of the ‘infinite variety’ of <strong>Shakespeare</strong>’s Queen”<br />

SHAKESPEARE magazine 21

Cleopatra<br />

from the first moment when Antony and<br />

Cleopatra emerge dressed as gods.<br />

Ever since, Trevor Nunn’s minimalism has<br />

influenced most small-screen <strong>Shakespeare</strong>.<br />

His Antony and Cleopatra was politically<br />

significant as well. For the first time, a<br />

British <strong>Shakespeare</strong>an production employed<br />

a substantial number of non-white actors<br />

(one was the young Joseph Marcell, currently<br />

touring as the Globe’s King Lear). This was<br />

important, and this continent-spanning<br />

drama remains a register of British theatre’s<br />

willingness to embrace wider ethnicities.<br />

In 1991 Yvonne Brewster’s Talawa Theatre<br />

presented an all-black production with Dona<br />

Croll as Cleopatra. Croll’s successors include<br />

such brilliant actresses as Cathy Tyson (1998),<br />

Josette Bushell-Mingo (2005) and Joaquina<br />

Kalukango in the RSC’s 2013 Anglo-<br />

American production where the directordramatist<br />

Tarell Alvin McCraney relocated<br />

the play to the Haitian revolution against<br />

Napoleon.<br />

So over the last 20 years the ground has<br />

shifted. After a century of male directors,<br />

two eminent Cleopatras have taken control<br />

Screen Queen<br />

Claudette Colbert<br />

played Cleopatra in<br />

<br />

of the play – Janet Suzman and Vanessa<br />

Redgrave have both directed it twice. And<br />

by casting black actors as Antony (including<br />

Jeffery Kissoon and David Harewood), they<br />

have both challenged old notions of racial<br />

difference and indeed identity. As Antony<br />

discovers, we shift and reshape ourselves<br />

continually, like the clouds.<br />

What’s next? This summer <strong>Shakespeare</strong>’s<br />

Globe in London is staging Antony and<br />

Cleopatra with Eve Best, so we can expect a<br />

Globe on Screen ‘live’ transmission to follow<br />

in cinemas soon, yet another redefinition of<br />

the genre. And after her mercurial but downto-earth<br />

Beatrice, the omens are good.<br />

“We’ve not had a great Cleopatra for some<br />

time,” the Stage reviewer has just written.<br />

“Best comes close to ideal.” Perhaps Orson<br />

Welles’s ghost will be pleased.<br />

<br />

Antony and Cleopatra is running at<br />

<strong>Shakespeare</strong>’s Globe until 24 August. Go to<br />

www.shakespearesglobe.com to book tickets.<br />

Beyond the screen<br />

at the Globe<br />

<br />

of English at the University of Warwick. This<br />

August the Globe will host his talks on two of<br />

<strong>Shakespeare</strong>’s greatest works and their onscreen<br />

counterparts.<br />

Thursday 7 August: Anthony and Cleopatra<br />

Wednesday 27 August: Julius Caesar<br />

Time: 6.00-7.00pm<br />

Venue: <strong>Shakespeare</strong>’s Globe, London<br />

Tickets: £7 (£5 concessions)<br />

Book tickets from www.shakespearesglobe.<br />

com or call 0207 401 9919<br />

<strong>Shakespeare</strong> at 450<br />

Howard on <strong>Shakespeare</strong> (in italics) is part of<br />

Globe Education’s summer season.<br />

To book tickets, call 0207 401 9919 or go to<br />

www.shakespearesglobe.com<br />

22 SHAKESPEARE magazine

Shakesbeard!<br />

“Beard<br />

There’s lots of reasons to grow a beard.<br />

Sometimes you just want to look a bit<br />

more fierce than you usually do.<br />

to<br />

Beard...”<br />

Sydney-based actor Christopher Tomkinson<br />

returns to <strong>Shakespeare</strong> <strong>Magazine</strong> with his<br />

<br />

Acting in <strong>Shakespeare</strong>’s plays has<br />

usually involved hair on my face. I<br />

love it – my wife, not so much. From<br />

the bushiest of bushranger beards to<br />

outrageous handlebar moustaches<br />

wider than my face, there’s a never-ending follicular<br />

cavalcade around my smile. Here’s the journey of my<br />

last few shows and their Shakesbeards!<br />

Or more like a sailor – the Boatswain<br />

from The Tempest – roaring in futility<br />

against the surges. Because a real man<br />

of the sea doesn’t shave.<br />

24 SHAKESPEARE magazine

Shakesbeard! <br />

Or older... This beard was trying to<br />

balance age and style while adding as<br />

many years as I could to a vain Baptista<br />

Minola (father of a shrewish daughter in<br />

need of taming). I painted it with evermore<br />

grey as the season went on.<br />

Sometimes you have to grow into a<br />

role – even while performing another.<br />

Here, a Weimar-inspired cabaret act<br />

is complemented by my upcoming<br />

Shakesbeard.<br />

Beards get itchy as they grow. Here,<br />

in a fit of itch-induced madness, the<br />

director has to stop me trying to shave<br />

with two sabres while we rehearse<br />

the final fight between Macbeth and<br />

Macduff. (Sport for Jove Theatre)<br />

My first big handlebar (for Charles the<br />

Wrestler in As You Like It) eventually<br />

reached these extreme lengths. The<br />

hardest part was getting the right wax<br />

to hold it in place. I had to try five<br />

different varieties before I found one<br />

strong enough!<br />

Sometimes a beard evolves. Here I am<br />

having an early costume check for the<br />

Ghost in Hamlet.<br />

At the start of the second season I<br />

looked like this.<br />

<br />

SHAKESPEARE magazine 25

Shakesbeard!<br />

By the end of the second season it had<br />

reached this wild woolliness. It was<br />

good for winter!<br />

One hair piece can grow out of another<br />

as one ridiculous character emerges from<br />

the shavings of another. Hidden within<br />

the Ghost beard was a new handlebar<br />

‘mo’ for a new villainous cretin, and it<br />

wasn’t even for a <strong>Shakespeare</strong>. At this<br />

point my lady really did despair of ever<br />

seeing my face again.<br />

Finally a show with no beard – so they<br />

stuck this on my face instead!<br />

All’s Well That Ends Well (Sport for<br />

Jove Theatre). Your French military<br />

beard, streamlined and stylish.<br />

Attempting to recreate the Chandos<br />

Portrait with a true ‘Shakesbeard’<br />

for Bell <strong>Shakespeare</strong> and Google’s<br />

celebration of the Bard’s 450th<br />

birthday.<br />

Finally I’m back to this – I’ve almost<br />

forgotten how to shave properly.<br />

<br />

26 SHAKESPEARE magazine

Intelligent.<br />

Cultured.<br />

Aspirational.<br />

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

readers all over the world.<br />

Alison Williams, 23 – Pennsylvania, USA<br />

They love reading, writing,<br />

thinking, talking and sharing.<br />

<br />

and healthy living.<br />

And they love to experience<br />

<strong>Shakespeare</strong> wherever they go.<br />

<strong>Shakespeare</strong> <strong>Magazine</strong> is only<br />

three issues old.<br />

But we already know our readers<br />

really are something special.<br />

To advertise in <strong>Shakespeare</strong> <strong>Magazine</strong>,<br />

contact shakespearemag@outlook.com<br />

SHAKESPEARE magazine 27

Henry IV in USA<br />

This year, a theatrical epic was unleashed in the heart<br />

of the US capital. Mary Finch applauds the <strong>Shakespeare</strong><br />

Theatre Company’s thrilling six-hour dual production<br />

of Henry IV, Parts 1 and 2<br />

28 SHAKESPEARE magazine

Henry IV in USA <br />

Prince Hal (Matthew<br />

Amendt) faces the<br />

looming responsibilities<br />

of kingship.<br />

<br />

SHAKESPEARE magazine 29

Henry IV in USA<br />

Hotspur<br />

Edward Gero is a Henry<br />

IV haunted by his past and<br />

tormented by his future.<br />

(John<br />

Keabler) rallies<br />

his troops at<br />

Shrewsbury.<br />

30 SHAKESPEARE magazine

Henry IV in USA <br />

Half-way between the towering<br />

dome of the United States Capitol<br />

building and the unmistakable<br />

facade of the White House sits<br />

Sidney Harman Hall. Like its<br />

iconic neighbours, the Hall has seen<br />

plenty of battles for power in its time<br />

– albeit largely confined to the stage.<br />

And none have been more epic than<br />

the recent presentation of both parts<br />

of Henry IV by the <strong>Shakespeare</strong><br />

Theatre Company.<br />

The seeds for the production were first<br />

sown 20 years ago, when the STC staged an<br />

adapted version of the story.<br />

“I put the two plays together,” explains<br />

the company’s venerable and much-honoured<br />

Artistic Director Michael Kahn. “I made an<br />

edit, as is often done, of Henry IV with Part<br />

1 and Part 2 together. As I was working on<br />

that I felt that I was cheating the audience<br />

from what really the experience of this<br />

could be.”<br />

Two decades later Kahn returned to Henry<br />

IV determined to deliver his full vision. What<br />

resulted was a narrative stretched across two<br />

powerhouse plays that explore the human<br />

experience with compelling virtuosity.<br />

At the centre of the production – and the<br />

story – is the totemic figure of Falstaff, played<br />

by veteran actor Stacy Keach. Now 73, Keach<br />

is well known on both sides of the Atlantic for<br />

his film, TV and voice-over work. But it’s the<br />

stage that is truly his home. For Keach, the<br />

“What is honour?”<br />

asks Stacy Keach’s<br />

Falstaff.<br />

“Even though Falstaff is<br />

funny, he is also a tragic<br />

character. He has a dark side<br />

as well as a light side”<br />

Stacy Keach<br />

experience of being on stage – especially on<br />

stage performing <strong>Shakespeare</strong> – is like entering<br />

a diamond mine.<br />

“You have to find in that particular<br />

performance the jewels that will come forth,”<br />

he explains, “as a result of the other actors and<br />

the direction and the audience.”<br />

The jewels of the performance become<br />

especially evident in the moments between<br />

Keach’s boisterous Falstaff and Matthew<br />

Amendt’s Hal, portrayed as a young man<br />

running from the responsibilities of adulthood<br />

and impending kingship.<br />

For Amendt, Hal is far more than just<br />

another character in a rising actor’s repertoire.<br />

He already has history with the character<br />

from playing the lead in Henry V (Guthrie<br />

Theater, 2009). But his familiarity goes way<br />

SHAKESPEARE magazine 31

Henry IV in USA<br />

“It<br />

back to when he first read the plays at the age<br />

of just seven.<br />

“He felt like a big brother to me,” the actor<br />

says, “somebody to take care of me and keep<br />

me on the straight and narrow. Of course, as<br />

I got older the ambiguity of the plays and the<br />

cruelty of all the characters – Hal certainly can<br />

be very cruel – came through, and it became<br />

more challenging for me.”<br />

Keach likewise takes on the duplicitous<br />

nature of Falstaff, recognising that he is much<br />

more than a mere clown providing comedic<br />

relief. “Even though he is funny,” Keach says,<br />

“he is also a tragic character in many ways. He<br />

has a dark side as well as a light side.”<br />

The famous play-within-a play scene at the<br />

Boar’s Head Tavern gives both actors a chance<br />

to show the two sides of their characters.<br />

Posing as the king, Falstaff denies the<br />

accusations against him, while simultaneously<br />

disowning all his other comrades. When it is<br />

encompasses all of<br />

the things that happen<br />

in war when people you<br />

love die” Michael Kahn<br />

Bedroom battles with<br />

Hotspur (John Keabler)<br />

and Lady Percy (Kelly<br />

Curran).<br />

Hal’s turn to ascend the makeshift throne, he<br />

initially mimics the style of Falstaff, throwing<br />

out insults and jests. But in a moment, Hal<br />

loses his smile and replaces the mirth with<br />

tears.<br />

“It comes to this awful conclusion,” says<br />

Amendt, describing the end of the second<br />

play and the Prince’s brutal termination of his<br />

relationship with Falstaff, “and I think in our<br />

performance it’s as difficult for Hal as it is for<br />

Falstaff.”<br />

Of course, these plays go beyond the<br />

32 SHAKESPEARE magazine

Henry IV in USA <br />

friendship of Hal and Falstaff. For the director,<br />

it was the uniquely wide-reaching scope that<br />

made these plays worth the full six-hours.<br />

“All problems of human existence are<br />

investigated in some way,” Kahn says. “Issues<br />

of class, issues of family, issues of politics, issues<br />

of power, issues of age and aging, friendship,<br />

ambition.”<br />

Adding romance and tragedy to the story<br />

is the fiery relationship between Lady Percy<br />

(Kelly Curran) and Hotspur (John Keabler).<br />

Under Kahn’s direction, Keabler and Curran<br />

embody a married couple that know each<br />

other well enough to argue bitterly yet still<br />

love deeply, making their final goodbye scene<br />

potently emotional.<br />

“In that goodbye scene she loses her<br />

“It comes to this awful<br />

conclusion. And I think it’s<br />

as difficult for Hal as it is<br />

for Falstaff”<br />

Matthew Amendt<br />

Falstaff, Justice Shallow,<br />

Bardolph and Justice<br />

Silence provide comic<br />

relief in Part 2.<br />

husband,” says Kahn, “and that encompasses<br />

all of the things that happen in war when<br />

people you love die.”<br />

Caught between the <strong>Shakespeare</strong>an titans<br />

of Hal and Falstaff, in some ways the part of<br />

Henry IV himself is often overlooked. Edward<br />

Gero stamps his authority on the role, and the<br />

powerful deathbed scene between Hal and his<br />

father is pregnant with guilt and shame.<br />

“It’s a much darker play,” Keach argues.<br />

“And yet there is a great comedy in Part 2, with<br />

Shallow and Silence, and the relationship with<br />

Falstaff and the Lord Chief Justice.”<br />

Even though it took 20 years to make it<br />

happen, Michael Kahn knows the company<br />

have achieved something great in putting<br />

these plays on simultaneously – sometimes<br />

both in the same day. “If I never do another<br />

<strong>Shakespeare</strong> play again,” Kahn reflects at the<br />

end of the run, “I’ve done these two plays that<br />

I wanted to do. And it was an extraordinarily<br />

fulfilling experience.”<br />

<br />

SHAKESPEARE magazine 33

Interview: Jamie Parker<br />

“I don’t know how to describe it,<br />

but something happens and it<br />

leaves you just feeling completely<br />

rejuvenated. It leaves you<br />

changed. It’s an elixir.”<br />

Jamie Parker<br />

Portrait: Piper Williams<br />

34 SHAKESPEARE magazine

Interview: Jamie Parker <br />

The<br />

history<br />

man<br />

He was in the original cast of theatre phenomenon The History Boys. And he’s an<br />

audience favourite at <strong>Shakespeare</strong>’s Globe, where he wowed London audiences as<br />

Prince Hal and King Henry V. Helen Mears has an audience with actor Jamie Parker.<br />

How does it feel to step into the<br />

Globe’s famous Wooden O for the<br />

first time?<br />

“It’s terrifying. It’s actually kind of a moment<br />

of insanity, a bit like jumping out of a<br />

plane or doing a bungee jump. Something<br />

exhilarating where you’re very much out<br />

of your element. You rehearse in a normal<br />

rehearsal room, and I remember going onto<br />

the stage for the first time. I remember<br />

coming on through the upstage left stage<br />

door, walking down to the pillar and<br />

thinking, ‘Oh, big, isn’t it?’ Even empty the<br />

place is incredibly powerful, there’s nowhere<br />

quite like it. The simple lesson I’ve learnt<br />

there is the only thing you’ve got to work<br />

with is whatever’s going on in the room. So if<br />

it’s not going well, if your audience is not very<br />

attentive, it’s rainy, whatever, then that’s what<br />

you have to work with.”<br />

What was your first role there?<br />

“As You Like It, directed by Thea Sharrock,<br />

I played Oliver de Boys. It’s a beautiful play.<br />

I had no particular desire to play Oliver<br />

and it ended up being a quite significant<br />

experience. I don’t think you see As You<br />

Like It coming – a play about forgiveness,<br />

reconciliation, conversion, transcendence<br />

and joy. It’s somehow easier to think that<br />

plays about misery and doom and gloom<br />

are more truthful, are somehow more about<br />

what life is really like. Until a play like that<br />

comes along and, if you get inside it right,<br />

SHAKESPEARE magazine 35

Interview: Jamie Parker<br />

“As<br />

there are other things that life is really like<br />

as well. And it’s actually a lot harder to write<br />

about joy and laughter than it is to write about<br />

pain and misery. It’s quite extraordinary that<br />

<strong>Shakespeare</strong> had the guts to write that play as<br />

well as King Lear. To write the play that asks<br />

what would life be like if we could forgive each<br />

other and find reconciliation?”<br />

When did you first fall for the<br />

Bard?<br />

“I was eight years old, watching Kenneth<br />

Branagh’s film of Henry V. I was rapt for two<br />

hours. It’s very much a play for a male, nascent<br />

psyche. It’s about crossing the threshold from<br />

boyhood into manhood, so I was right in<br />

the crosshairs. I probably fell in love with the<br />

Chorus before I fell in love with Henry. That<br />

was the first time I had been handed that<br />

contract and been asked to sign it, saying we’re<br />

nothing without your imagination. We’re just<br />

fully grown adults in silly clothes unless you<br />

make us exist. To my mind no one has ever said<br />

it better. A little later I saw Olivier’s Henry V.<br />

I’d never seen a <strong>Shakespeare</strong>an playhouse before<br />

and when I saw the oak boards, the groundlings<br />

and the pillars, that’s when it clicked. That’s<br />

when I went ‘Yeah, it’s that role and it’s that<br />

theatre.’ At that point the current Globe didn’t<br />

exist, but basically for 25 years before I started<br />

the role, I wanted to play that role, in that<br />

costume, in that theatre.”<br />

After drama school you spent<br />

two years with The History Boys.<br />

How did you find your way back to<br />

<strong>Shakespeare</strong> and the Globe?<br />

“I think one of the reasons it took me so long<br />

to get there was that by the time I’d left college<br />

I’d grown quite distrustful of <strong>Shakespeare</strong><br />

productions in Britain generally. It had been<br />

a long time since I had felt intoxicated by<br />

<strong>Shakespeare</strong> as I had been intoxicated when<br />

I was a child – just feeling like you were<br />

hearing them for the first time. The standout<br />

moment was when I saw Mark Rylance<br />

playing Hamlet at the Globe. I’d never seen<br />

36 SHAKESPEARE magazine<br />

You Like It is a<br />

play about forgiveness,<br />

reconciliation, conversion,<br />

transcendence and joy.”<br />

anything quite like that before. I can pinpoint<br />

the moment where everything that I thought<br />

I knew about <strong>Shakespeare</strong> was turned on its<br />

head, which was where he was doing the ‘O<br />

what a rogue and peasant slave am I’ speech.<br />

He was unpredictable and you didn’t know<br />

what he was going to do next. During the<br />

speech he went ‘Hah!’ and a small child in<br />

the groundlings went ‘Hah!’ in reply and he<br />

suddenly engaged in this back-and-forth,<br />

almost in tongues. I remember thinking,<br />

‘Can you do that?’ But it worked. I’d never<br />

seen anyone be quite so irreverent with<br />

<strong>Shakespeare</strong> before. That was the moment<br />

when I realised that <strong>Shakespeare</strong> is really<br />

alive. I’d forgotten that boyhood dream but<br />

when the opportunity to work at the Globe<br />

came up, I took it. I didn’t see it coming<br />

and I didn’t work towards it – it just sort of<br />

happened and it happened at the right time.”<br />

What was so appealing about this<br />

opportunity?<br />

“It gave me a chance to work with Dominic<br />

Dromgoole again, he gave me my very first<br />

acting job. And it was a great joy to find out<br />

that Roger (Allam) was going to be playing<br />

Falstaff in the Henry IV plays, because I’d<br />

grown up listening to him. A lot of what I<br />

knew about performing <strong>Shakespeare</strong> had<br />

come from Roger and people like him. If<br />

the plays did have any success outside of<br />

Roger’s extraordinary presence on the stage,<br />

I’d like to think it was a kind of mentor-pupil<br />

relationship. There was that feeling that we’re<br />

on the same page and I’m coming up behind<br />

you. I’m going to try my best to top you, I<br />

know I can’t succeed, but I’ll try.”

Interview: Jamie Parker <br />

Photo: John Haynes<br />

Jamie Parker plays<br />

the title role in the<br />

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

production of Henry V.<br />

SHAKESPEARE magazine 37

Interview: Jamie Parker<br />

Photo: John Haynes<br />

Was it the chemistry between<br />

you and Roger that made those<br />

productions so popular?<br />

“All I know is that I felt his absence on Henry<br />

V profoundly. I hope that was to the benefit<br />

of the production because you should feel the<br />

absence of Falstaff in Henry V, and that’s not<br />

always the case.”<br />

Did performing the whole Hal-to-<br />

Henry journey provide insights for<br />

when you played Henry V?<br />

“Well, it was bound to have a profound<br />

effect. We worked a lot with Act 2, Scene 5,<br />

the moment that foreshadows Hal’s rejection<br />

of Falstaff. Dominic said to me to think<br />

about the way that <strong>Shakespeare</strong> was working<br />

with a particular acting company and that<br />

he wrote a great part for an established actor,<br />

a virtuoso role. But he also wrote another<br />

role for another younger actor who’s coming<br />

Olivia Ross as<br />

Princess Katherine<br />

opposite Jamie’s<br />

Henry V.<br />

up behind, and to remember that this is<br />

a competition going on for the audience’s<br />

favour. When we did ‘I know thee not, old<br />

man’, we tried it several different ways and<br />

Roger said to me, ‘You’re not doing enough<br />

with that line to stop me in my tracks. You<br />

need to top me.’”<br />

And when you yelled ‘Cry God for<br />

Harry, England and St George’,<br />

did you feel the groundlings would<br />

have run up on stage and followed<br />

you off?<br />

“There were days like that. There were a small<br />

handful of performances that I will take to<br />

my grave with me. There are rare moments in<br />

that theatre where you just feel it, something<br />

happens. I don’t know how to describe it,<br />

but something happens and it leaves you just<br />

feeling completely rejuvenated. It leaves you<br />

changed. It’s an elixir.”<br />

38 SHAKESPEARE magazine

Interview: Jamie Parker <br />

Why does Hal snub Falstaff at<br />

the end of Henry IV, Part 2?<br />

Does he have to do it?<br />

“I think that’s it. I think it’s necessary.<br />

That’s the question all the way through<br />

Henry for me. Practically every scene has<br />

that question of did Hal have to act that<br />

way? Henry V asks what life would be like<br />

if there was a young man who could display<br />

all of the qualities required to become a<br />

great chivalric king. What would they be<br />

like, what would they have to do and how<br />

would they do it? What does it mean to<br />

‘assume the Port of Mars’? That line brings<br />

with it mystic qualities that the actor is<br />

expected to embody when they come on<br />

to the stage. The moment when he rejects<br />

Falstaff is one of them. He has to. We’ve<br />

already had the Henry VI plays showing<br />

what happens when a King doesn’t do what<br />

needs to happen – you can’t have Falstaff<br />

sitting next to the throne of England and<br />

expect things to go well!<br />

“It strikes me as significant that these<br />

were the last of the History plays that<br />

<strong>Shakespeare</strong> wrote. We’ve had seven plays<br />

about life under disorder and misrule and<br />

kings who aren’t equal to the office and<br />

about what happens when fallible humans<br />

are put into a position anointed by God.<br />

That rejection to me is the moment where<br />

Henry goes ‘enough’. It’s not that he’s<br />

never fun ever again, but he realises the<br />

importance of good husbandry, of being<br />

decisive, of laughing at hardship, of giving<br />

due significance to the notion of good order.<br />

They’re things that Henry is written to<br />

embody and the previous seven plays have<br />

been written to lack.”<br />

“We’re nothing without your<br />

imagination. We’re just fully<br />

grown adults in silly clothes<br />

unless you make us exist ”<br />

Whose idea was it to play the St<br />

Crispin’s Day speech so small? I’ve<br />

never seen it done quite like that.<br />

“Not everybody liked it. I think some people<br />

have preconceived notions of what that<br />

speech should be. It was very delicate and that<br />

meant it could go badly. I’m glad we did it,<br />

because when it did succeed it spoke for itself<br />

and it suddenly became immovably strong as<br />

a presence in the theatre. What he’s saying is<br />

that we’re already dead and that’s how we’re<br />

going to live forever.”<br />

You recently did Hamlet for BBC<br />

Radio. Would you like to play that<br />

role on stage?<br />

“Yes, I would. It was great doing it. I’d never<br />

imagined it as a possibility but when it came<br />

up I thought ‘great’. It was weird though,<br />

because it was basically ‘Turn up and record<br />

Hamlet’, we only had a day of read-through<br />

and rehearsal. It was terrific. I’d basically<br />

known Hamlet all my life and that means you<br />

just know passages of it. It was great because<br />

it was like ‘you’ve read it, now just do it’!”<br />

You appeared in the film Valkyrie<br />

with superstar Tom Cruise. What<br />

was it like when he then came to<br />

see you at the Globe?<br />

“That was so surreal – talk about worlds<br />

colliding. It was brilliant. What a dude. He<br />

didn’t have to do that and I really didn’t expect<br />

him to come. He was brilliant and he met<br />

everyone afterwards. I was terrified that he was<br />

going to be bored but if he was he didn’t let on.”<br />

<br />

Jamie plays Sky Masterson in Guys and Dolls<br />

at Chichester Festival Theatre from 11 August to<br />

21 September.<br />

SHAKESPEARE magazine 39

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

“See you these<br />

clothes?”<br />

An exquisite exhibition in Moulins, France celebrates a century of<br />

<strong>Shakespeare</strong>. Running until January at Centre National du Costume de Scéne,<br />

<strong>Shakespeare</strong>, the stuff of the world is a testament to the creative magic<br />

unleashed when French couture meets the Bard.<br />

40 SHAKESPEARE magazine

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

Left: Costume by Jacques Schmidt<br />

for Fortimbras in Hamlet, directed<br />

by Patrice Chéreau, Avignon<br />

Festival followed by Nanterre,<br />

Théatre des Amandiers,1988. Coll.<br />

Théâtredes Amandiers.<br />

<strong>Shakespeare</strong>, the stuff of the world runs until<br />

4 January 2015, priced just !6 for entry (concessions available).<br />

Go to http://www.cncs.fr for more details. For information<br />

about visiting central France: http://www.pays-bourbon.com<br />

Costume by Jacques Schmidt for Gertrude, worn<br />

by Marthe Keller in Hamlet, directed by Patrice<br />

Chéreau, Avignon Festival followed by Nanterre,<br />

Théâtre des Amandiers, 1988. Coll. Théâtre des<br />

Amandiers.<br />

<br />

SHAKESPEARE magazine 41

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

Costume by Jean-Pierre Vergier for the King of<br />

Comedy, worn by Jean-Baptiste Malartre in Hamlet,<br />

directed by Georges Lavaudant, Comédie-Française,<br />

1994. Coll. Comédie-Française.<br />

42 SHAKESPEARE magazine

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

Costume by Thierry Mugler for Lady Macbeth, worn by<br />

Catherine Ferran in Macbeth Tragedy, directed by Jean-<br />

Pierre Vincent, Avignon Festival – Comédie-Française,<br />

1985. Coll. CNCS/Comédie-Française.<br />

<br />

SHAKESPEARE magazine 43

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

Headdress by Abdelkader Farrah for Lady Anne, worn by<br />

Ludmilla Mikael in Richard III, directed by Terry Hands,<br />

Comédie-Française – Avignon Festival, 1972. Coll. CNCS/<br />

Comédie-Française.<br />

44 SHAKESPEARE magazine

Regulars <br />

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

Our City of London Tour Guide<br />

Zoe Bramley reports from the<br />

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

Last time, we visited the<br />

Blackfriars Gatehouse. But<br />

that’s just one connection<br />

<strong>Shakespeare</strong> had in the Blackfriars<br />

area, so let’s go and see our next lost<br />

building.<br />

The narrow alleyway running down<br />

the side of the Cockpit is Ireland Yard.<br />

Halfway down, you will come to the<br />

ruins of a churchyard on your right.<br />

The yard is at a raised level from the<br />

ground so walk up the steps, keeping<br />

your eye on the old stone ruins on your<br />

right. This is all that remains of the<br />

church within the monastery.<br />

There were approximately 400<br />

friars here between the 1200s and<br />

1538, when it fell victim to the<br />

Dissolution of the Monasteries in<br />

the reign of Henry VIII. It was in<br />

the Great Hall of the Blackfriars that<br />

Henry held a court hearing to test the<br />

validity of his marriage to Catherine<br />

of Aragon in 1529. As we know,<br />

Henry got his divorce, married Anne<br />

Boleyn, and all the religious houses<br />

fell one by one.<br />

Parts of the Blackfriars were sold<br />

off piecemeal. That’s how we have<br />

<strong>Shakespeare</strong> buying the gatehouse<br />

in 1613 and his theatre company,<br />

the King’s Men, opening an indoor<br />

playhouse in the dining hall. This<br />

posh new theatre attracted a higher<br />

class of clientele than the raucous<br />

Globe, and the company could<br />

charge a higher entrance fee.<br />

They began to experiment<br />

with different music, using softer<br />

instruments such as the lute and the<br />

flute. This is where <strong>Shakespeare</strong>’s<br />

final plays were performed – The<br />

Tempest, The Winter’s Tale, Pericles,<br />

and Cymbeline. And by poignant<br />

Shadowing<br />

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

Henry VIII<br />

and Anne<br />

Boleyn<br />

(painted by<br />

Holbein).<br />

coincidence the play Henry VIII was<br />

also performed, re-enacting the tense<br />

events of Henry and Catherine of<br />

Aragon’s divorce hearing which had<br />

taken place here 80 years previously.<br />

As you come back down the steps,<br />

turn right and walk to the end of<br />

Ireland Yard. Look up at the street<br />

sign which recalls a lost era. It says<br />

simply: Playhouse Yard.<br />

So that brings us to the end of<br />

our mini-tour. But if your feet are<br />

itching and you’re ready to discover<br />

further lost <strong>Shakespeare</strong>an sites in the<br />

City, join us next time for some more<br />

suggestions.<br />

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

Try as we might, we couldn't stretch an entire quiz out of the two references to<br />

football in <strong>Shakespeare</strong>'s works. So this month's theme is the month of July...<br />

1July is named after<br />

Roman Emperor<br />

Julius Caesar. In<br />

<strong>Shakespeare</strong>’s play<br />

about Caesar’s<br />

assassination, who<br />

warns him to “beware<br />

the Ides of March”?<br />

2The historic battle<br />

of Shrewsbury was<br />

fought on 21 July 14<strong>03</strong>.<br />

In which play does<br />

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

this event?<br />

3<strong>Shakespeare</strong>’s<br />

eldest daughter<br />

married John Hall, a<br />

doctor. She died in July<br />

1649, aged 66. What<br />

was her name?<br />

4In July 2006, a copy<br />

of which book<br />

was sold at Sotheby’s<br />

auction house for £2.5<br />

million?<br />

5From which play<br />

does this quote<br />

come? “He makes<br />

a July's day short as<br />

December...”<br />

Answers: 1) The Soothsayer. 2) Henry IV, Part 1. 3) Susanna. 4) The First Folio. 5) The Winter’s Tale.<br />

SHAKESPEARE magazine! 45

Contributors<br />

Zoe Bramley is a City of<br />

London Tour Guide specialising<br />

in <strong>Shakespeare</strong>’s London and the<br />

Tudor City. She qualified in 2010<br />

and then launched the <strong>Shakespeare</strong><br />

Trail, a guided walk which explores<br />

the hidden sites associated with our<br />

greatest playwright. Zoe’s fascination<br />

with <strong>Shakespeare</strong> began after reading<br />

A Midsummer Night’s Dream aged 17<br />

and wishing she could meet Bottom!<br />

Zoe can be contacted via<br />

www.shakespearetrail.com<br />

Mary Finch is in her fourth year<br />

studying English at Messiah College<br />

in central Pennsylvania. Will first<br />

grabbed her attention in secondary<br />

school and hasn’t let go since – she<br />

reads, recites and watches <strong>Shakespeare</strong><br />

whenever possible. Besides going<br />

on irrational adventures to see<br />

performances with her friend Alison,<br />

Mary also has a passion for swing<br />

dancing, dabbling in calligraphy and<br />

tending to her ever-growing window<br />

garden of succulents.<br />

Piper Williams is a freelance<br />

fashion and portrait photographer<br />

from Portland, Oregon, now<br />

working out of Surrey. He spends<br />

his days time-travelling via historical<br />

docudramas, silent films and vintage<br />

radio broadcasts. These adventures<br />

are a catalyst for his imagery and his<br />

wardrobe. His current project, 1928,<br />

is a modern take on the Jazz and War<br />

age aesthetic. Also in the works is a<br />

Steam, Diesel and Cosplay-inspired<br />

series of <strong>Shakespeare</strong>an characters.<br />

Meet thy makers...<br />

Just some of the contributors to this issue of <strong>Shakespeare</strong> <strong>Magazine</strong><br />

Livia Lakomy is a Brazilian<br />

journalist and writer. Although<br />

Portuguese is her mother tongue, she<br />

spent much of her teens trying to<br />

make sense of <strong>Shakespeare</strong>’s English<br />

and singing along to Bob Dylan.<br />

She lives in New York, where she<br />

is earning an MFA in Nonfiction<br />

Writing from Columbia University.<br />

Her current projects involve essays<br />

on Brazil’s emotional history<br />

and translating writers from her<br />

hometown of Curitiba into English.<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 />

Christopher Tomkinson is an actor,<br />

director, writer and arts educator.<br />

For the last few years he’s worked<br />

most regularly with Sport for Jove, a<br />

Sydney-based theatre company with<br />

a special focus on <strong>Shakespeare</strong> and a<br />

tendency to run things in repertory.<br />

He wrote about their season of All’s<br />

Well That Ends Well and Twelfth<br />

Night in our previous issue.<br />

46 SHAKESPEARE magazine

Next issue<br />

We hope you’ve enjoyed Issue Three of <strong>Shakespeare</strong> <strong>Magazine</strong>.<br />

We’ll be back next month, and here’s just some of the<br />

<strong>Shakespeare</strong>an gems we’ll be bringing you.<br />

The Bard in the Balkans<br />

Hamlet came to Kosovo. We were there.<br />

<br />

“My kingdom for a... jeep!”<br />

<br />

McKellen talks Richard III in this classic archive interview.<br />

Look, Mum – no roof!<br />

Open-air <strong>Shakespeare</strong> this summer.<br />

<br />

<br />

United States of <strong>Shakespeare</strong><br />

How America learned to love the Bard.<br />

SHAKESPEARE magazine 47

Back issues<br />

<br />

<br />

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


<br />

Celebrating<br />

450 years of the<br />

English language’s<br />

greatest-ever<br />

wordsmith<br />

<br />

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


Character'd<br />

on thy skin..."<br />

"<br />

Blood meets ink in the world<br />

of <strong>Shakespeare</strong> Tattoos<br />

Aussie Rules<br />

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

A double bill of the<br />

Bard in sunny Sydney<br />

Launch issue<br />

King David<br />

From Doctor Who to Hamlet and<br />

Richard II, David Tennant is a 21st<br />

century <strong>Shakespeare</strong> superstar!<br />

<br />

www.issuu.com<br />

<br />


Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!