Category: Shakespeare Plays

William Shakespeare is widely regarded as one of the most influential playwrights in history, and his plays have been performed and studied for centuries. From the timeless tragedy of Romeo and Juliet to the hilarious antics of A Midsummer Night’s Dream, Shakespeare’s plays continue to captivate audiences around the world. Whether you’re a fan of tragedy, comedy, or romance, there’s a Shakespeare play for everyone. So why not revisit these timeless classics and discover the magic of Shakespeare for yourself?

Browse the entire text of Shakespeare’s plays right here on Shakespeare Geek.

Everybody Excited for Still Star-Crossed?

~ duane ~ 1 Comment

Still Star-CrossedTonight’s the night!  Shakespeare on prime time.  I can’t wait!

In case you missed it, Shonda Rhimes – Shonda “Grey’s Anatomy, Scandal, Private Practice, How To Get Away With Murder” Rhimes – is going to try her hand at something more Shakespearean with Still Star-Crossed, a Romeo and Juliet sequel based on the young adult novel by Melinda Taub.

Early reviews are hopeful but negative, calling it a rare misstep for Rhimes and hoping that the pilot’s overly complex story is something that all new dramas face as they’re forced to get in all the necessary back story. Sure they’re going to take some liberties (some big, some small). We have a new prince, taking over after his father’s death, but who is also named Escalus? That’s a rather forced twist just so that we can have a backstory romance between Rosaline (yes, Romeo’s Rosaline) and this new Escalus.  But he then goes off and proclaims that to join the two families, Rosaline has to marry Benvolio.  You’ve already lost me, Shonda.  There were no other Capulet cousins? You just had to pick the one that you like?  Apparently Escalus 2.0 has a sister, too, so start taking bets on how many episodes it takes before she gets into the romantic triangles.

I am cautiously hopeful.  Sure it’s not Shakespeare – but neither was Shakespeare in Love, and that did ok.  If you drop in enough Shakespeare content you can still manage to tell your own story while keeping the audience happy.  If you took any of the other shows she’s turned into gold and just documented the storyline, they’d sound equally convoluted.  Remind me again on Grey’s Anatomy which characters haven’t slept with each other?

And hey, if it doesn’t work we can turn our attention to Will on TNT, premiering later this summer.

And if that flops too look for Daisy Ridley on the big screen as Ophelia.

Is it me or are we seeing a real Shakespeare trend here?  I am totally ok with that.  So far nothing animated, nothing with lions.  Future looks promising!

Anybody else hoping for the best?

If Music Be Whose Food Of Love?

~ duane ~ Leave a comment

If music be the food of love, play on.

Cleopatra doesn't look very hungry for the food of love.Everybody knows that quote, right?  Duke Orsino, opening line of Twelfth Night.

But check this out.  I was searching the text for music references tonight and a line popped up I’d never noticed before:

Give me some music; music, moody food
Of us that trade in love.

Recognize it?  That’s Cleopatra, from Antony and Cleopatra (duh), Act 2 Scene 5. Sounds almost identical, doesn’t it?  I love finding these obvious examples where Shakespeare had good luck with a particular turn of phrase and went back to it later.

It would be great if A&C was written first and we could say the most famous use of that line actually lifts it from the other, but that’s not the case – Twelfth Night is pretty safely several years prior to A&C.

 

Wherefore Did I Fail

~ duane ~ Leave a comment

I’m a horrible father.

My oldest, as I may have mentioned, is studying Romeo and Juliet in school. Today while driving her to school we were discussing Shakespeare and I’d joked about the possibility of creating a “Name That Shakespeare” game along the lines of “Name That Tune.”  You know, “I can name that Shakespeare play in 3 words!” sort of thing.  (More on that in a future post!)

To which she responds, “That would be impossible.” Thinks about it and adds, “Well, I suppose some would be easy. Where art thou.”

Not taking my eyes off the road I ask, “What’s that one from?”

“Romeo and Juliet,” she replies.

I immediately begin hitting the child.  “That’s not even funny!” I yell in mock horror. Maybe it wasn’t so mock.

Defending herself she retorts, “Why? What’s wrong with that? Is that not the line?”

“It’s wherefore art thou,” I correct.

“Right,” she says, “It means where are you.”

I immediately begin hitting the child again.  “Where did I go wrong? When did I fail you? Of all the things I’ve taught you, how did you miss this?  This is like the line in the sand between people who understand Shakespeare and who don’t.  It’s the go-to inside joke among Shakespeare geeks.  If you google “Shakespeare knock knock jokes“, you get this joke. I literally have a t-shirt with this joke written on it.  Knock knock.”

“Who’s there?”

“Wherefore.”

“Wherefore who?”

“NO, WHEREFORE WHY! WE’VE BEEN OVER THIS!”

“I don’t get it.”

I didn’t actually push her out of the car, or disown her.  I may have thought about one or the other. She goes on to tell me how she honestly thought (up to this point I’d hoped she was kidding) that Juliet was looking for Romeo in the bushes.  *sigh*  I had to explain how, from her point of view, she’s never going to see the guy again, it was just two ships passing in the night. It’s not like they said “Come out on your balcony, I’ll meet you outside.”

I just honestly don’t understand how that went past her.  If you’d asked me I would have thought it was one of my most overdone jokes.  Surely they’d heard it a hundred times.  Shows what I know.  What else do I assume they know that they have no clue about?

 

 

Weather As Plot Device

~ duane ~ 1 Comment

Lear and his Fool on the heathI’m trying to think of plays where the weather plays an important role.  Sure there’s The Tempest, but we get the storm at the beginning and then…nothing.

Macbeth seems to be all about the weather.  So fair and foul a day I have not seen!

King Lear is probably the ultimate example.  If you haven’t seen Act 3 Scene 1 live yet, your Shakespeare life is not complete.  The wind is blowing, the rain is pouring down. Kent staggers in at one level, battling against the wind, hanging on to the scaffolding so he doesn’t blow away.  Enter a gentleman below, also buffeted by the wind.  “Where’s the king?”  first thing Kent asks, only to learn that he’s out in this storm.  “But who is with him?”  “None but the fool.”  Shivers.  Goosebumps. That’s one of my favorite moments in the play.

Hey, here’s a question — the stage direction I read for this scene says “Storm still.”  Does that mean the storm is still continuing, or that there is a lull in the storm, an actual still moment?

What else?  Any of the comedies do something similar to work weather into the plot?

 

Review : Miranda and Caliban by Jacqueline Carey

~ duane ~ 2 Comments

Loyal readers know I’ve got a soft spot for The Tempest.  I worry that I sound like a broken record saying that. So even though my book review queue is backed up well beyond my ability to ever get through it, I said sure, go ahead and send me Miranda and Caliban by Jacqueline Carey.

I wish I could say I liked it, but I just can’t. First of all, it’s written in that “I want to sound Elizabethan” manner of speech which ends up being more grating than anything else. The author’s got a particular fondness for the word “mayhap”, to the point where it would sometimes appear multiple times on a single page of dialogue. Does she think that sounds like Shakespeare? I checked – that word does not appear in Shakespeare.

The story itself is interesting, starting with Miranda and Prospero’s attempt to catch Caliban.  So we get to see Caliban being taught language and learn what he knew about his mother, and how she died, and the role Setebos played in their lives.

It’s clear from the beginning that Prospero is the bad guy in this story. As a savage, Caliban had his freedom to roam the island.  But as soon as Prospero decides to civilize him, he is their servant, locked in his cell and only given limited amounts of freedom as a reward for good behavior. It only gets worse from there.  We also learn that Caliban would rather Ariel remain trapped in his tree. He’s there for a reason as far as Caliban is concerned and bad things will happen if Prospero frees him.  Prospero doesn’t care, invoking the name of Setebos to break Sycorax’s charm and create his own to bind Ariel to his service.

None of that would be a deal breaker for me.  I didn’t love the “if I say mayhap enough times I’ll sound like Shakespeare” approach to the dialogue, but it was a reasonable retelling of what happens in the story.  I should mention at this point that my daughter saw the book, recognized the characters, and asked if she could read it – before I was finished with it.  I had a bad feeling about that – this is, after all, spun like a romance novel – but I trust my kids, and told her that if it becomes inappropriate I expect her to tell me and give it back.

Fast forward a few days when she returns from school with a look of horror on her face, hands the book back shaking her head and saying, “I should not be reading that.”  She later tells me, “When you get to page two fifty it’s disgusting.”

I never made it to page two fifty because around page one seventy it becomes a Blue Lagoon story.  Everybody knows what I mean by that?  Fourteen-year-old Miranda gets to learn in great detail about her first period.  She has no idea what’s happening. Neither does her friend Caliban. Fine. I’ve actually argued in the past for sympathy for Caliban, because biology is a hell of a thing that you can’t always control, especially when you don’t know what’s happening.

Cut to the scene where Miranda’s taking a bath trying to get the blood off, while Caliban watches (without her knowledge).  Caliban who goes off into the forest and, to put it the way Ariel puts it after catching him, commits the sin of spilling his seed on the ground. Even better, Ariel then blackmails Caliban by threatening to tell Miranda and Prospero about it. So there’s now this ongoing sexualization of Miranda that’s entirely the invention of the author because there’s none of it in the original.

Yeah, I’m out.  I can’t go on to what I know must ultimately be sex scenes between them, and knowing that my daughter read it before me doesn’t help at all.

If nothing I said above bothers you, you might find that you like this one. But I just can’t.  The characters are too special to me, and you can’t do that to them. The Tempest for me is a fairy tale about a long lost princess stranded on an island with her sorcerer father, who meets a prince and falls in love and first sight, who takes her away to live happily ever after.  I know there’s more to it than that, and it can be looked at and interpreted many ways. That doesn’t mean I have to like it.

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