Shakespeare

Illuminated in the Warm Glow of His Long Shadow

C. Jefferson Thom — Tue, 06 Aug 2024 19:08:22 +0000

Illuminated in the Warm Glow of His Long Shadow C. Jefferson Thom August 6, 2024 - 15:08

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If it hadn't been for two of his actors compiling their working scripts from past productions, we might not have the plays of William Shakespeare. It was Henry Condell and John Heminges who preserved his plays and, oddly enough, it was a Chicago actor named Sam Wanamaker who spear-headed the movement to build this theatre dedicated to his memory and the continuation of his work.

Anyone visiting London should explore the option of taking a trip back in time to the southern side of the Thames where there stands a theatre called Shakespeare's Globe. Built not far from the footprint of the original Globe, this transporting re-creation was constructed with the utmost attention to detail and a profound love and dedication to its subject. Sporting the only thatched roof in all of London (those went out of fashion after 1666 for some reason), this theatre is as authentic as it gets, right down to the wooden pegs holding everything together in lieu of metal nails. Shakespeare is very arguably the greatest author in the English language and to stand in this space, seeing sites so similar to what he saw and hearing his words spoken so trippingly on the tongue by such actors… 'tis a consummation devoutly to be wished. It certainly was for me.

When I arrived in London, it was one of Shakespeare's greatest villains who was trodding the boards… the infamous Richard III. As Shakespeare worked without the aid of electricity in his time, I opted to see a matinee subject to the whims of natures' lighting. Sitting on that communal, wooden bench and watching that performance is the closest this fanboy has ever felt to one of his greatest heroes.

This almost all-female cast turned the tradition on its nose without any need to belabor that point. Where it counted most, these roles were magnificently filled. Michelle Terry rips Richard a new one, playing him more on raw guile than any cunning more refined. Her Richard is brash, vulgar, and reckless with some strong parallels being drawn to the United States's Rotten Orange of leaders rather than to any in Britain's own backyard. Her power is overwhelming and her energy builds with a burning crescendo which spirals out of control as the fated king loses his grasp of this mortal coil. Shakespeare's Richard is one of my personal favorite villains in all literary history and Terry's portrayal of him will stick with me as an interpretation of note. Helen Schlesinger's performance as Buckingham also stands out, bringing light and dimension to a role which can sometimes whither under its subservience to Richard. However, Schlesinger's strength and presence remind us that powerful individuals often only maintain that power at the whim of other equally powerful individuals who crave the spotlight less. This was a theme much coaxed out in this production, and one with the strongest parallels to the would-be tyrant across the sea, especially as former allies are quickly discarded once their usefulness has escaped them. Such galvanizing interpretations and majestic performances from two profundity-steeped players. I truly hope I have the opportunity to see them both on the stage again.

Photo: Marsy Gallardo

There were many more performances and production qualities worthy of mention, but as I write, this production is coming to an end. So, sadly, if you haven't already seen this Richard III, it likely means you already missed it. But there is reason to rejoice in that the plays of Shakespeare go on here and yet another memorable production continues tomorrow, tomorrow, and tomorrow… to the last syllable of recorded time. Or so I hope, because there is something essential that this production possessed: clarity. Shakespeare's language is dense and while it is brilliant in that density, it can often be difficult to decipher, particularly for the untrained ear. That is why it is the duty of the actor to solve The Bard's many puzzles and present their audience with the answers (or, at least, the answers they arrive at, for there are infinitely many). Put more simply, these actors made Shakespeare's words clear and understandable, so even if you are not an Oxford scholar or seasoned actor yourself, these performers know how to bring you into His world and show you why his words have lasted for so long. When it’s done right, there’s really nothing better.

Aside from their stage productions, Shakespeare's Globe also offers a wide variety of tours. I took their Shakespeare's Globe Story & Tour which was an enlightening option for someone with a thirst for a greater understanding of this author and the world he wrote in. In connection with the tour there is a museum with displays that should work well to grab the interest of children, but to be fair, I don’t believe that my exceptionally bright almost-ten-year-old daughter would have been able to fight off the demon of boredom, so the Globe may be an experience best saved for mature teens and those older.

In closing, this is a rave, 5 star, run-don't-walk review of Shakespeare's Globe. I maintained a very full and thrilling itinerary for the 8+ days I spent in London and the four hours I spent enveloped in the glow of the Globe were some of my happiest from the trip. So if you're in London, why wouldn't you want to experience one of the greatest things that a proud nation has so much reason to be proud of?

For more information and to book your experience at Shakespeare's Globe, go to:

https://www.shakespearesglobe.com/

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The Most Kindest Cut of All

Brandon Judell — Sat, 09 Feb 2013 20:16:46 +0000

The Most Kindest Cut of All Brandon Judell February 9, 2013 - 15:16

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The Bard Strips Down

Brandon Judell — Sat, 07 Jul 2007 17:29:14 +0000

The Bard Strips Down Brandon Judell July 7, 2007 - 13:29

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Shakespeare

"Fair is foul, and foul is fair," note the three witches in Macbeth's opening act, and that is a justifiable critique of director Geoffrey Wright's audacious adaptation of the ultimate tale of untethered ambition gone awry.

It's now set in Melbourne, where Aussie drug-dealing crime boss Duncan (Gary Sweet) is about to fatally discover that his brutal, yet true-hearted, henchman Macbeth (Sam Worthington) is switching his loyalties to more selfish aims.

Spurred on by pronouncements from a trio of nymphet soothsayers traipsing through a graveyard, and later on by his calculating spouse (Victoria Hill), Macbeth decides that he wants to be the head hoodlum of Down Under, and he'll do whatever it takes to achieve that goal.

For those of you unfamiliar with Mr. Wright's early film about Australian neo-Nazis, the critically acclaimed Romper Stomper, know that this helmer can generate rather violent fare. Accordingly, this production gives The Sopranos a run for its money when it comes to blood-laden butchery. Not once but twice does this Macbeth saunter about splattered with hemoglobin from head to foot, looking very Carrie-like, post-bucket spilling.

And that's just the tip of the iceberg of savagery here. There's also a shockingly prolonged garroting of Lady Macduff (Kat Stewart). Seeing her own tot of a son blown away is apparently not enough. She has to struggle in vain against the wire depleting her of life while her killer experiences an orgasmic ecstasy. Of course, you might consider this just a quiet moment between the rather effective machine-gun shootouts, wine cellar barrages, bedroom gougings, kneecap blastings, and barroom fusillades. Between bullets, thankfully there is an abundance of nudity leading at times to copulation, other times just to a shower. This is rather enjoyable because the cast was hired not solely for its ability to convincingly deliver Shakespearean lines. Extremely pleasant looks were a second factor. (Take the mesmerizing Rel Hunt, a Brad-Pitt look-alike, in the role of Angus.)

This combination of talent and Guess-ad libidinousness especially pays off when Macbeth has a foursome with the witches, and when he touches his wife's bare bosom every time the Bard of Avon utilizes the word "breast" in a monologue. At times, this literalness almost leads to a feeling of kitsch, and indeed a few critics at the screening I attended were guffawing now and then.

Adele Flere's masterful art direction, David McKay's award-worthy production design, Jane Johnston's exquisite costume design, and Will Gibson's startling cinematography, which is a kaleidoscope of black and deep red hues, combine for a stylized look that, though one of immense artistry, at times seems to be in bloody battle with the drama. Note, for example, how a fruit bowl steals the show in one dinner scene. And near the finale, instead of being consumed with Macbeth's oncoming demise, you're wondering whether the cast's jackets can be purchased at a local Leather Warehouse.

Attire aside, especially noteworthy is John Clifford White's score that truly deserves Oscar consideration. His crescendos are definitely a must to download.

As for Mr. Wright's direction, it should be observed that he's said, "Macbeth was a dream project for me, and I intended it to unfold as a kind of dream, an escape from the naturalism of most Australian films, a removal of the audience's attention from grunge or suburbia."

So how can one criticize a dream? With a few reservations, this take on the oft-performed tragedy boasts a first-rate cast, a bit of wit, and a vision that, while not for purists, is never tedious.

Best of all, this Macbeth clearly illustrates that:

"As flies to wanton boys are we to the gods, They kill us for their sport."

What could be more timely?