Three Projects To Get Excited About

When I read a headline that the Actors Hall of Fame was bringing back Shakespeare classics after 20 years I thought, “What, something like the Criterion collection? DVDs?”  Nope, I’m completely wrong. They’re doing multiple ground-breaking things that look crazy exciting!

A MidSummer Night’s Dream will be produced as a state of the art family animated film, with the addition of new songs and dances from established and emerging artists. The film will be released globally in midsummer 2018.​

All my children’s lives I’ve wanted “start of the art family animated film” versions of Shakespeare.  I just hope this one hasn’t got gnomes in it.

The Taming of the Shrew will be produced as a 10 hour miniseries for broadcast/streaming, and will also introduce the next generation of characters in the lives of Petruchio and Katherina.

I’ve seen rumors that at least three major television networks are doing some version of a Shakespeare series, including a Romeo and Juliet sequel. The idea of a mini series is an interesting one, because you can tell a determined story arc without worrying about having to create ongoing material for several seasons.

Romeo and Juliet  the classic story of young love will make history by airing ‘LIVE’ on mobile and social media around the world starring today’s most popular young stars from film, television and music.

Since joining Twitter back in 2008 I’ve been inundated with every possible combination of live tweeting the plays in “text speak” from various accounts behaving in the persona of the individual characters, and I’ve never liked it. I’m at least curious what “airing live on social media” means because I am interested in the advancement of the technologies to do that, however.

Should be very interesting to keep an eye on these projects!

We Are The Music Makers, and We Are The Dreamers of Dreams

You’ve likely heard by now that Gene Wilder has passed away. He was 83.  As has become tradition here on the blog, we like to look back at those icons of stage and screen who made life better with the help of Shakespeare.

Mr. Wilder’s most famous role must surely be that of the original, the one and only Willy Wonka.  Here’s our good friend @Bardfilm’s video take on all the Shakespeare references in this masterpiece from our childhood:

Did you know that Wilder’s first performance in front of a paying audience was in a production of Romeo and Juliet when he was 15?  He played Balthasar.  (That’s ok, I didn’t know that either until I read his wikipedia page :))

But wait! There’s more.  Gene Wilder was actually born Jerome Silberman. Where and why did he get Gene Wilder?  “Jerry Silberman as Macbeth didn’t have the right ring to it,” he thought when he joined the Actor’s Studio, choosing Wilder from Thornton Wilder and Gene from Thomas Wolfe’s Look Homeward, Angel. He later said that he couldn’t imagine Gene Wilder playing Macbeth either :).  Our loss – I can’t find any record of him ever trying.

Though it has nothing to do with Shakespeare, I love the trivia that Gene Wilder basically rewrote the part that made him famous, Willy Wonka, including such specifics as the entrance where his cane sticks in the cobblestones and he does his little somersault entrance. He also entirely redesigned the costume.  So shines a good deed in a weary world…

Those who know a little more about Wilder’s personal story know that he never fully got over the death of his wife Gilda Radner from ovarian cancer.  At last they’re reunited.

Good night, sweet prince. Flights of angels sing thee to thy rest.

What is Hamilton’s Tragic Flaw?

You don’t need to have seen the megahit musical Hamilton to have at least a pretty good idea of the plot.  The soundtrack is practically the script.  Plus, nobody can stop talking and writing about it from every conceivable angle.  I suppose if you don’t count yourself familiar with the play, this post has some spoilers, so be warned.

I’ve been wondering about how it stands up as a tragedy.  We know from the very beginning “See this guy, our hero?  Yeah, he dies.”  Just like Romeo and Juliet.  I don’t mean that like, “We’re all supposed to know the real story, like Julius Caesar,” I mean, “He says it right in the prologue, like Romeo and Juliet.”  In the opening number, Aaron Burr says “I’m the damned fool that shot him.”

So if we’re going to treat it like a tragedy, the next question is what Hamilton’s tragic flaw might be?  I think we could discuss this all day.  His honesty? His failure to play the political games (something that, from the beginning, people more experienced have warned will get him killed)?  His workaholism? (Is that a word?)  His fear that he was going to “run out of time”?

If I dust off my high school memories of A.C. Bradley, isn’t there something about the tragic flaw directly leading to a decision that sets events in motion that ultimately lead to the death of the tragic hero?

Can we pinpoint the event in Hamilton?  I wonder if it’s his decision to go off with Maria Reynolds (which sets about the Reynolds Pamphlet, his marriage troubles, his son’s demise, etc…) but (a) I’m not sure what “tragic flaw” of his led to that decision, and (b) I’m not sure what it has to do with Aaron Burr.

Working backwards, I think Burr is ultimately pushed over the edge by Hamilton’s endorsement of Jefferson, a man who he acknowledges he’s in complete disagreement with politically.  So then is he more of a reverse Brutus character?  Focused solely on what’s right for the people and the big picture, and missing the machinations of those forces surrounding him? Rather than “I generally like you but I’ve become convinced you’re bad for the people so you’ve got to go” we’ve got “I don’t particularly like you but I think you’d be a better choice than the other guy”?

Mostly I just wanted something to talk about, and Hamilton’s more interesting than Pokemon Go :).  If you’ve got any other Shakespeare comparisons you want to make, feel free in the comments!

They Have Made Worm’s Meat Of Me

Shakespeare himself repping his Shakespeare Geek Merchandise
Mercutio Drew First

Romeo + Juliet (the one with Leonardo DiCaprio) is playing in the background as I work in the home office. Can somebody tell me about Mercutio’s final moments, specifically the reference to worm’s meat?

He is a friend to the Montagues and defends Romeo’s honor in his last act.  Yet his last words are, among other things, “They have made worm’s meat of me” and the more recognizable, “A plague on both your houses.”

Help me into some house, Benvolio,
Or I shall faint. A plague o’ both your houses!
They have made worms’ meat of me: I have it,
And soundly too: your houses!

Romeo and Juliet III.i.106

Yes, But What Does Worm’s Meat Actually Mean?

If people find this post looking for an actual explanation of that worm’s meat line, it’s an image that Shakespeare uses frequently. You die, you go in the ground, worms eat you. Look at how Hamlet describes what’s happening to a now-dead Polonius:

Not where he eats, but where he is eaten: a certain
convocation of politic worms are e’en at him. 

Hamlet IV.iii.22

Or Sonnet 76:

No longer mourn for me when I am dead
Then you shall hear the surly sullen bell
Give warning to the world that I am fled
From this vile world, with vilest worms to dwell:

Sonnet 76

Pardon the pun, but Shakespeare and the people of the time were down to earth when it came to death. Death was a sad reality; people were dying all over the place. There could be plenty of taken of heaven and angels, to be sure. But when it came to what happens to your earthly remains? Shakespeare was very frank and often pretty gross about it.

Now, Back To Our Story

In this particular version, Mercutio wanders offstage alone when he utters the worm’s meat line as if it is an aside.  That changes it for me.  I always thought he was saying it to Romeo, referring to the Capulets.  But said like that, coupled with the “both houses” line, it seems more that he’s talking about both of them.  In his final moments, it is as if he’s wondering, “Why did I get in the middle of that?”

I suppose it’s always been there, and he clearly says both your houses.  I don’t think it fully sunk in for me before.  He doesn’t blame Tybalt for killing him. He blames them both for getting him stuck in the middle. My point is that the worm’s meat line is more important than the “both houses” line. Imagine for a moment that Mercutio’s not dying. He’s just angry that he’s been wounded for a dumb reason. The “both houses” line can still be hurled at Tybalt and Romeo, but it has more of a “You can both go to hell” edge. But the worm’s meat realization – especially said to himself, where “they” is clearly “both of them”, changes it. Mercutio knows he’s dead. The man with something to say is left with nothing but a curse to deliver.

When I saw you I fell in love. And you smiled because you knew.

Status: Not by Shakespeare

Totally not Romeo and Juliet. But neither is this quote.

Although often attributed to Romeo and Juliet, Shakespeare aficionados the world over can assure you that neither this line nor anything like it, appears in that play. It doesn’t even sound like Shakespeare. It is by Arrigo Boito, who does at least have a Shakespeare connection in that he’s written a number of operas based on Shakespeare’s work including Othello and Falstaff.

 
In fact, it’s precisely Falstaff where we can find the original quote (although it’s in Italian):
 
Come ti vidi
M’innamorai,
E tu sorridi
Perchè lo sai.
 
which Google Translate tells me is, “How I saw you I fell in love, And you smile Because you know it.”  Close enough, Google!
 
 
 
 
Hat tip to https://falsescribes.wordpress.com/2013/07/12/when-i-saw-you-boito/ pointing out that the text is from Falstaff, which at least gives us an excuse to make the Shakespearean connection?  I wonder if there are folks out there who know that’s the source and are just working backward, figuring that Shakespeare must have written it originally.
 
 
Nah.  All these quotes fall victim to that same “It sounds sappy and romantic, assume Shakespeare wrote it, it will get more likes on Instagram” logic.
 
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