“Should Shakespeare be studied in secondary schools?” Sydney-based student Tazmin Harper wrote to Shakespeare Magazine with some questions about Shakespeare’s relevance in the modern day, both inside and outside the classroom – needless to say, Editor Pat Reid had a few comments to make on this subject…

TAZMIN HARPER: How did you become interested/involved with Shakespeare and his works?
PAT REID: “It’s a long story, but the short version is this: At the start of 2013 I decided to read Richard III, and I enjoyed it so much that I carried on until I’d read Shakespeare’s Complete Works, which I think took me about seven or eight months. I had the idea for Shakespeare Magazine almost immediately. I was a media professional experienced in making specialist magazines, so I knew it was something I could do. I thought about it for a year, but couldn’t raise any finance, and I was giving up hope that it would ever happen, when suddenly there was an opportunity. I took a leap of faith, and the first issue of Shakespeare Magazine was published on 23 April 2014.”

 
Did your secondary education shape your interest in Shakespeare? Positively or negatively? 
“I was at secondary school in Merseyside during the 1980s. We did quite a bit of Shakespeare, and I enjoyed it. The teachers were good. It wasn’t an amazingly innovative approach or anything, but I was into it, so I got a lot out of it. Looking around me, I was aware that some of my classmates weren’t getting it at all, and I knew how they felt because in most of my other subjects at school it was me who wasn’t getting it at all.
 
“I should also mention that I had a head start because my Dad had made me read and learn some Shakespeare when I was younger – Julius Caesar and Macbeth, a bit of The Merchant of Venice. I’d even written a short Shakespearean parody when I was about ten. And in my final term at secondary school I wrote and staged a Hamlet spoof called Omlet – it was basically Hamlet meets The Rocky Horror Show. So I was a Young Shakespearean. Then I went to university and it basically put me off English Literature for the next 25 years.”
 

Image by Amogha Sridhar
 
What is your demographic/readership for the Shakespeare Magazine?
“It’s a free online magazine, and we have found readers in well over 100 countries. The majority of the readers are female and they are often (but by no means exclusively) connected to education, the arts and/or the theatre world. Plenty of teachers, students and librarians. The age range is wide, ranging from students in their late teens to retirees in their sixties and older. Our youngest and oldest readers that I know of were 15 and 85.
 
“The two biggest readerships are the USA and the UK, followed by Germany, Australia, Canada, Italy, Japan, Spain, France and Brazil. If you name a country, I can tell you how many readers we have there, and what I know about how Shakespeare is perceived there. We have readers in the most surprising places, but I’ve realised that any country with a capital city, a university, a theatre and a British Embassy will usually have at least a pocket of Shakespeare fans.”

Shakespeare Day in a London school
 
What themes and issues from Shakespeare’s works are most prominent in the modern day? 
“Politics. Love. Men and women. Treachery. Murder. Death and bereavement. War – especially civil war. Leadership, and the lack thereof. Magic and manipulation. Don’t trust witches, but fairies are brilliant. Sometimes goddesses are attracted to mortals. I’ll leave you to work out which of Shakespeare’s plays and poems these refer to.”
 
Do you feel that his plays are still relatable to a modern audience?
“I do, but so what? Just because something is relatable doesn’t mean it’s any good. You’d have to be an extremely sick individual to relate to Lady Macbeth, but she’s a compelling, unforgettable character. (Actually, I know that loads of people do relate to Lady Macbeth. That’s because this strange thing happens with Shakespeare where people often simply ignore the things in the text that don’t match their preconceptions. So therefore it’s possible to believe that Lady Macbeth is, for example, a feminist warrior, when she’s actually a mentally ill accessory to murder.)
 

Lady Macbeth
 
“The way Shakespeare’s plays unfold can seem weird at first. But that’s because most plays, films, TV and novels today use all the same tricks and formulae, and so we find it strange when those things don’t happen. Interestingly, I sometimes find that films from other cultures like India, South Korea and maybe Turkey seem closer to the Shakespearean style of storytelling than modern day English-language stuff. Oddly enough, some elements of the Mamma Mia! films seem quite heavily indebted to Shakespeare.”
 
Why do you believe Shakespeare is such an important figure in English education?
“Since the Enlightenment, I think that Shakespeare has increasingly occupied the space in the minds of the intelligentsia that would previously have been devoted to the Bible. So Shakespeare’s works have become a sort of secular Bible, and thus have attained great importance in our culture. Someone recently said that even in a post-Christian World, the dreams we dream are Christian dreams. I think there’s something in that, but I also think that now those dreams are co-authored by Shakespeare.”
 
Do you believe Shakespeare should be studied in English or Drama in secondary school? Or any other subjects?
“That’s an interesting question, as I hadn’t really thought about Shakespeare being taught in schools outside of English Language and Literature classes. But before I answer the question, let me address this word ‘should’, because whenever I’m told I ‘should’ do something, or read something, or think something or be something, I tend to resist it. And I particularly hate it when people on social media post statements like ‘This should be taught in every school’, as if the whole of humanity has to exactly conform to their own personal likes.
 

A Midsummer Night’s Dream
 
“But having said that, I am a Shakespearean, I’m evangelical about Shakespeare, and I know that Shakespeare can be introduced and taught brilliantly in schools – even in primary schools.
 
“So English Language is an obvious subject to bring in Shakespeare. It helps to show where our language has come from and how it has evolved. Same goes for English Literature, obvs.
 
“I suspect most schoolkids don’t study Drama, but I do think it would be bizarre to have a Drama department that didn’t do Shakespeare. If it wasn’t for Shakespeare there wouldn’t BE any Drama department. Doing Shakespeare in Drama is also valuable from a practical point of view. Actors with Shakespeare training tend to be more confident and more versatile. If you look at the British (and some Australian) actors who have broken through internationally in recent years, they usually have done and continue to do major Shakespeare roles. Hollywood takes Shakespeare credentials very seriously, in part because native US actors don’t often have the same experience.
 
“And Shakespeare can also be useful and highly relevant in school History lessons. I’m friendly with the team on BBC History Magazine, and they have Shakespeare references in practically every article. The many excellent historians we see on British TV constantly refer to Shakespeare. I’ve said before that you can’t be a Shakespearean and not be at least part historian, but maybe it’s the other way round too – you can’t be a historian and not be at least part Shakespearean.
 

Katy Ransome at Shakespeare Lives in Botswana, 2016
 
“Shakespeare and his associates are obviously interesting historical figures in their own right, and it’s refreshing to study the popular culture of their era, as a contrast to the more big picture stuff on monarchs, wars, politics, plagues, the importance of pumpernickel in Westphalia, and so on. There was an amazing explosion of creativity in the Elizabethan era, and we’re still feeling it in our popular culture today. Shakespeare also provides a helpful entry point for certain subjects, or can be an alternative way to approach things – even if it’s just the obvious route of ‘This is how Shakespeare depicted Julius Caesar, Cleopatra, Henry V, Richard III – how does it compare to what we now understand to be the historical facts?’”
 
Do you feel that Shakespeare and his works should be a required topic to study in secondary school? Why?
“Allowing again for my unease with the word ‘should’, I do believe that Shakespeare belongs in secondary schools, certainly in England, and probably everywhere else English is spoken as well. Look, it’s important to know about your culture, and if you speak English then you’re one of Shakespeare’s children, so a bit of respect, as they say, is due.
 
“Shakespeare is the most important writer – and arguably one of the most significant human beings – of the last 500 years, so any education system in the English-speaking world would be severely lacking if it didn’t reflect that.
 
“There are at least two countries I know of where they’ve tried to kick Shakespeare out of the classroom in recent years. One is Zimbabwe and the other is Canada. Now, clearly Zimbabwe needs to cultivate its own literature and writers, but to me it seems that Mugabe’s henchmen wanted to ban Shakespeare because they didn’t want a population capable of independent thought.
 
“In Canada, the idea is to replace Shakespeare with Canadian authors, so it’s a kind of nationalist but also virtue signalling move, and it’s nakedly political because they apparently want to erase the historic links between the UK and Canada. And also I believe cash gets funnelled to favoured authors, so this also has the whiff of cronyism.
 
 
“Incidentally, Canada’s greatest living writer, Margaret Atwood, is herself an avid Shakespearean, and interestingly I believe she was largely homeschooled. Elsewhere I saw one quote from a young woman saying ‘As a Chinese Canadian, I don’t want to learn about English writers’. Which is ironic, because in England there was a serious proposal in Birmingham, the second biggest city, to change the name of the airport to William Shakespeare International Airport, as it’s receiving such huge volumes of tourists from China who are coming to visit Shakespeare’s Birthplace.
 
“This leads me to another observation: outside of the English-speaking world, the interest in and love for Shakespeare is phenomenal. So even if native English speakers cease to value Shakespeare, his works will find a home in emerging superpowers like China, India and Brazil.”

Which works of his do you believe are the most important to be studied?
“I suppose there’s five or ten big plays that everybody’s heard of, but for the numerous reasons I’ve discussed above, all Shakespeare’s works have value – let’s not forget the Sonnets, and long poems like Venus and Adonis – and if teachers are able to give a flavour of it all, then so much the better.
 
“It would be nice if teachers were able to choose which ones to do based on how much a particular class would enjoy them and respond to them. It occurs to me that while I advocate Shakespeare for all, it would be a shame if everyone was taught the same texts in the same way, and expected to arrive at the same conclusions.
 
 
“It’s often said that performing Shakespeare is the best way to get to grips with the texts. This certainly works for me, but some children are mortified at the thought of reading something out loud to their peers. I can also understand that tackling entire plays can be tough, as youngsters tend to lose interest before the end. Perhaps an alternative approach could be a kind of ‘tasting menu’ of Shakespeare, where classes would sample extracts from several plays, as well as dipping into the long poems and the Sonnets.
 
“In 2014 FutureLearn did an excellent Shakespeare MOOC (online course) which was presented by Jonathan Bate. Something like that could easily be adapted for secondary schools. In which case every kid in Britain would end up knowing Shakespeare better than I did before I started Shakespeare Magazine. That would be fantastic.”
 

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Marooned boats in a magical woodland: Butterfly Theatre’s The Tempest at Bristol Shakespeare Festival 2015

Directed by Aileen Gonsalves, Butterfly Theatre’s production of The Tempest is a dynamic and exciting take on the play that benefits from its outdoor setting in Bristol’s Leigh Woods. It is one of the many innovative shows taking place this July as part of the Bristol Shakespeare Festival.

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The performance starts deep in Leigh Woods, as singing actors in yellow mackintoshes beckon the audience to pass under a symbolic sea. After this energetic beginning, the audience enters local artist Luke Jerram’s Withdrawn installation, comprising five fishing boats stranded in the woods. The Tempest’s themes of power, reconciliation and magic certainly resonate deeply here among the trees.

The cast of seven guide the audience through a promenade performance where maintaining the momentum is a key element. Prospero (Julian Protheroe) is masterful, surveying his island from a boat’s deck. His relationship with Miranda (Georgie Ashworth) is warm, and Miranda shrieks with appropriate girlishness when she falls for a wide-eyed and earnest Ferdinand (Owen Pullar).
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Ariel is played compellingly by Gail Sixsmith whose powerful movements convince. Caliban (Elliot Thomas) incites pity, but his raucous comic scenes with Trinculo (Matthew McPherson) and “Stephana” (Kate Ellis) excite much laughter amongst the audience.

Though truncated, the production remains faithful to the outlines of the play-text and makes good use of the boats for dramatic effect. The soundscape created by Jonnie Harrison is an interesting mix of drums, instrumental music and singing. And the effect of the music appearing as if from among the trees adds to the magical, slightly eerie atmosphere.
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A play like The Tempest benefits from the unusual outdoor setting, and Butterfly Theatre manage to keep the standing audience happy throughout as the drama and magic unfold amongst the boats.

All images by Elle de Burgh

The Tempest in Leigh Woods ran from 11-17 July.

To find out more about Bristol Shakespeare Festival, go here.

To find out more about Butterfly Theatre, go here.

To find out more about Luke Jerram’s Withdrawn installation, go here.

Much Ado About Something as Shakespeare’s legendary lost play Love’s Labour’s Won surfaces in Stratford – or does it?

Love’s Labour’s Won is famously listed as one of Shakespeare’s ‘lost plays’. However, some academics believe it is in fact not lost but is actually an alternate name for another play, in the way that Twelfth Night is also called What You Will. The RSC’s Artistic Director Gregory Doran appears to believe this theory and goes one further to suggest that the much-beloved Much Ado About Nothing is in fact the missing play. Re-designating Much Ado as Love’s Labour’s Won and pairing it with Shakespeare’s other screwball rom-com Love’s Labour’s Lost for the first time forms the basis of the Royal Shakespeare Theatre’s 2014 winter season.

Michelle Terry and Edward Bennett as Beatrice and Benedick.

Michelle Terry and Edward Bennett as Beatrice and Benedick.


Love’s Labour’s Won
 sees Edward Bennett and Michelle Terry both making their return to the RSC to play the bickering couple of Benedick and Beatrice, with Edward Bennett returning for the first time since stepping into David Tennant’s shoes to play Hamlet during the London run in 2008.

Director Christopher Luscombe has set the play in 1918 as soldiers return from World War I and used local Tudor house Charlecote Park as his setting. Set designer Simon Higlett had the task of recreating this historical home on stage and he has done a marvellous job doing so. It looks and feels as if you are stepping into an episode of Downton Abbey with the luxious main set featuring a grand piano and a beautifully decorated large Christmas tree.

The production’s handsome Downton Abbey-esque set.

The production’s handsome Downton Abbey-esque set.

Edward Bennett plays Benedick with great wit and comedic timing. In particular the ‘gulling’ scene, where he overhears about Beatrice’s love for him, is full of laughs as he is humiliated by his peers. A personal highlight sees Benedick being semi-electrocuted inside the Christmas tree.

Michelle Terry is more than a match as Beatrice. Just as sharp-tongued and funny as Benedick she stands as a perfect match for Bennett’s returned war hero. Terry holds her own as the feisty and independent heroine. When the couple finally unite the romance pours out of them onstage and they are without a doubt the true and unpredictable love story of the play.

Claudio (Tunji Kasim) and Benedick.

Claudio (Tunji Kasim) and Benedick.

A notable mention should go to Sam Alexander as the villainous Don John. He appears on crutches, having been injured in the war, which helps his bitterness and hatred shine through.

The play raised many laughs from the audience and none more so than the scene of Dogberry and Verges interrogating Borachio and his co-conspirators regarding their roles in the thwarted marriage of Hero (Flora Spencer-Longhurst) and Claudio (Tunji Kasim). The hectic confusion is played out perfectly on stage, helped along by the brilliant idea to stage it all within a small portion of the set.

The marriage of Claudio and Hero (Flora Spencer-Longhurst).

The marriage of Claudio and Hero (Flora Spencer-Longhurst).


Much Ado About Nothing
– I mean Love’s Labour’s Won – is well-staged, well-acted and a perfect companion for the Love’s Labour’s Lost. It runs until 14 March 2015.

Go here to buy tickets for Love’s labour’s Won.

What did the UK media make of Maxine Peake’s Manchester Hamlet? Shakespeare Magazine reviews the reviews…

The idea to take on the iconic role of Hamlet, Maxine Peake told Creative Tourist, came after she worked with Royal Exchange Artistic Director Sarah Frankcom on a 2012 production of Miss Julie. “We’ve got this opportunity now where there’s no boundaries,” she suggested, “so we’ve got to challenge ourselves, perhaps even to the point where we overstretch ourselves.”
As Creative Tourist puts it, Peake was “adamant that this part has got absolutely nothing to do with gender-swapping for shock’s sake.” But it must have been clear from the start that gender (or ‘gender-bending’ as the Telegraph helpfully put it) would be the principal lens through which many critics and punters would experience this production.
Hamlet 7 credit Jonathan Keenan
Several reviewers pointed out this was the first time Hamlet has been played by a woman in a high-profile production since Frances de la Tour in 1979. Susannah Clapp (Observer/Guardian) gave as good a summary as can be found of the rich theatrical story Peake’s performance belongs to: ‘There is a long, strong tradition of women performing the role,” she writes. “Sarah Siddons took it on in Manchester in 1777. Victorian actresses, amateur and professional, played the part regularly. Sarah Bernhardt, the first actress to be filmed in the part, declared it should always be performed by a woman.”

Frankcom told Creative Tourist that “Prescribed notions of gender – what is female, what is male – are all in flux at the moment … with our Hamlet, Maxine’s Hamlet, she’s creating a character that’s as much male and as much female.”
Hamlet 9 credit Jonathan Keenan
However, Peake’s Hamlet was for many reviewers very much a prince, rather than the intended royal-human-in-flux. To Polly Gianniba describes it was “a cross between a warrior angel (one of the beautiful lovelorn angels Philip Pullman writes) and the Little Prince.” Michael Billington refers to Peake’s Hamlet as ‘he’. Additionally, Polonius – or Polonia – was played by, and as, a woman (Gillian Bevan). For the Telegraph, this was confusing: “If Hamlet remains, technically, male in this reading – why make these added distinctions?” And one was left wondering whether The Independent reviewer joined the dots of his own thinking when he wrote “We are not used to seeing a woman play Hamlet. The result here is a powerful and yet curiously domestic production.” The suggestion seeming to be that ‘woman’ equals ‘domestic’. Although perhaps this ‘domestic’ sense came from the decision to largely excise the Fortinbras plot, the thread that brings the wider political world into the play’s family drama.
Hamlet 10 credit Jonathan Keenan
Fortinbras’s removal was Billington’s “main reservation” about the production, whilst Gianniba enjoyed the production enough that “anything left out feels inconsequential.” When a production minimises Fortinbras, as has often been done before, it usually indicates a focus on personal, rather than geo- politics.

Hamlet, more than many plays, is an intensely ‘personal’ experience. The character invites the audience’s identification through soliloquy and the expression of existential crisis. Having catalogued the staging (in-the-round), costumes (Chairman Mao suit, Bowie haircut for Hamlet, according to the Manchester Evening News and others) and expressed an opinion about the verse speaking – any reviewer in need of a point-of-view must finally fall back upon his or her own inner Hamlet and see how the new suit fits.
Hamlet 6 credit Jonathan Keenan
On these traditional terms, Peake pleased most reviewers. But it’s interesting to wonder who might be “shocked”, as Peake put it, by seeing a woman playing Hamlet in 2014. To an extent, coverage of this production is several degrees removed from the intense, often violent commentary on gender in this year of Beyoncé as ‘FEMINIST’, GamerGate, and the mixture of celebration and death threats that greets any new female re-imagining of Marvel superfolk. Nonetheless, perhaps that is this Hamlet’s wider, personal-political context. Susannah Clapp suggests that, with this and previous productions, “Frankcom is in effect creating England’s first mainstream feminist theatre.” And if a woman playing Hamlet still has the power to shock, or even confuse, an audience in 2014, then the political, like old Hamlet’s wronged ghost in the play, may have been this production’s sustaining energy.

Photography by Jonathan Keenan

Go here for more on Hamlet at the Royal Exchange Theatre, Manchester.

Gaze in wonder at visionary poet and artist William Blake’s spellbinding paintings inspired by the works of William Shakespeare

This week we’ve been celebrating the 28 November birthday of William Blake (1757-1827). Although perhaps best known for his poems and for writing the words to the hymn ‘Jerusalem’, Blake was also a visionary painter, one whose was often Shakespeare-inspired.
Here is Blake’s ‘Pity’ (1795), inspired by the evocative but mysterious line from Shakespeare’s Macbeth: “And pity, like a naked new-born babe, Striding the blast…”
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Blake also illustrated more conventional scenes from Shakespeare – although often with a supernatural dimension. Here’s his version of Hamlet encountering his father’s Ghost (1806).
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Brutus and the ghost of Julius Caesar is another haunting Shakespearean scene from Blake (1806).
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And here we have Richard III on the night before the Battle of Bosworth, assailed by the ghosts of his victims (circa 1806).
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Blake also painted Oberon, Titania, Puck and the other fairies from Shakespeare’s A Midsummer Night’s Dream in this beautiful and dreamlike tableau from 1786.
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And Blake even turned his supremely versatile hand to a portrait of Shakespeare himself (circa 1800).
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William Blake was a poet, painter, printer, visionary, mystic – and Shakespearean. Portrait by Thomas Phillips (1807).
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Thank you to Shakespeare’s Birthplace Trust Education for showing us the link between two great English literary Williams – William Blake and William Shakespeare.

Find out about the William Blake Exhibition at the Ashmolean, Oxford.
Find out about the William Blake Exhibition at Tate Britain.
Fnd out about Shakespeare’s Birthplace Trust Education.

Dame Janet Suzman has learned some amazing things from 50 Years of Shakespeare – listen to the full audio here!

For Ben Spiller, Artistic Director of 1623 theatre company, the Shakespeare Highlight of 2014 is the evening he hosted with Dame Janet Suzman in September.

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“Dame Janet is one of the greatest Shakespeareans of our time,” Ben says. “She’s played nearly every female role in the canon, directed Othello with a multiracial cast in South Africa when apartheid was in force, run masterclasses at LAMDA and in prisons, edited Antony and Cleopatra, and written books on performing Shakespeare and the role of women in drama.”

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Ben describes Dame Janet as “one of the most inspirational people I have met” and he was delighted when she visited his home city of Derby to share her experiences with his Shakespeare Night regulars and newcomers.

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“It was a professional and personal highlight for me,” he says, “to share the stage with this incredible woman, whose intelligence, skill and humanity are second to none. As if things couldn’t get any better, her acceptance of the invitation to become 1623′s patron was a dream come true.”

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You can listen to the complete audio of the evening with Dame Janet here.
You can find out more about 1623 theatre company here.

Prepare to lighten your wallet and boost your brain… It’s the Shakespeare Magazine Beautiful Bard Books Roundup

Seeking Christmas gift inspiration? Why not treat a fellow Shakespeare fan (or yourself!) to one of these beautiful Bard-related books. All prices are RRP for UK editions, but if you shop around you may well nab some of these for less (especially in eBook formats).

Shakespeare for Grown-ups
Subtitled “Everything You Need To Know About The Bard”, SHAKESPEARE FOR GROWN-UPS by E. Foley and B. Coates is already a firm favourite in the Shakespeare Magazine office. It’s a fun, handy reference guide that will fit nicely on your shelf between Bill Bryson’s ‘Shakespeare’ and Ben Crystal’s ‘Shakespeare on Toast’. An eminently readable intro for anyone who wants to find out what Shakespeare’s all about, it’s also a great memory refresher for those returning to the Bard in later life (like the Editor of Shakespeare Magazine, for example).

Out now, priced £12.99 Buy ‘Shakespeare for Grown-Ups’ here.

JulietsNurseCover
Opening with the vivid and ultimately heartbreaking reimagining of a medieval childbirth, JULIET’S NURSE by Lois Leveen sees US novelist Leveen give a poetic new voice to one of the most memorable supporting characters in all of Shakespeare, namely the Nurse from ‘Romeo & Juliet’. Watch out for an interview with Lois in the very next issue of Shakespeare Magazine. Meanwhile, you can read the opening chapter of ‘Juliet’s Nurse’ here.

Out now, priced £16.99 Buy ‘Juliet’s Nurse’ here.

Station Eleven
Post-apocalyptic science fiction conveyed via dreamlike prose with a Shakespearean soul, STATION ELEVEN by Emily St. John Mandel won instant acclaim and a National Book Awards nomination. Opening with a stage performance of ‘King Lear’ that eerily foreshadows the global tragedy to follow, this is definitely one of the year’s must-read novels.

Out now, priced £14.99 Buy ‘Station Eleven’ here.

Forensic Shakespeare
Firmly placed at the more academic end of the market, FORENSIC SHAKESPEARE by Quentin Skinner (no, the title doesn’t refer to Crime Scene Investigations) eloquently explores the idea that the Bard skilfully employed judicial rhetoric in the poem Lucrece and in some half-dozen of his most famous plays. A good one for Lawyers (obviously), Law students and anyone keen to sprinkle their dinner party conversation with some judiciously selected pearls of Shakespearean legalese.

Out now, priced £20 Buy ‘Forensic Shakespeare’ here.

R&J pulp cover Othello pulp cover
Underneath their cheekily mashed-up cover art, PULP! THE CLASSICS – OTHELLO and ROMEO & JULIET by William Shakespeare are readable, no-frills editions of two of the Bard’s Greatest Hits – and the perfect student stocking filler.

Out now, priced £6.99 Buy the Pulp! The Classics editions of ‘Romeo & Juliet’ and ‘Othello’ here.

PLUS! COMING IN 2015…

Cover Image - The Tutor
THE TUTOR by Andrea Chapin comes recommended by no less a Shakespeare authority than James Shapiro, who deems it “a terrific achievement [that] allows us a glimpse into the workings of Shakespeare’s mind and heart.” A wonderfully entertaining adventure set during the young Will Shakespeare’s infamous ‘Lost Years’, it should please fans of ‘Shardlake’ and ‘Shakespeare in Love’ alike.

Released 26 March 2015, priced £7.99 TBC Pre-order ‘The Tutor’ here.

Shakespeare gets a Pulp Fiction makeover with this irreverent cover art for new paperback editions of Othello and Romeo & Juliet – and we have 5 sets up for grabs!

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A glowering, ruffed-up Mr T as Othello? An inescapably post-teenage Richard Burton and Elizabeth Taylor as Romeo & Juliet? It can only mean one thing: William Shakespeare is receiving a cheeky remix from Pulp! The Classics.

With lurid, genre-splicing cover art from David Mann, the series already includes editions of classic novels like Pride & Prejudice, Wuthering Heights and Tess of the D’Urbervilles, but Shakespeare is the first playwright to join their ranks.

And a spokesperson for Pulp! The Classics tells us they hope to release a complete set of Shakespeare titles in due course.

Priced £6.99, the Pulp! The Classics editions of Othello and Romeo & Juliet are on sale at bookshops from Thursday 6 November.

But if you don’t want to shell out your hard-earned groats, we have FIVE pairs of the Shakespeare titles to give away.

To be in with a chance of winning one simply send an email to us at shakespearemag@outlook.com with ‘Pulp Shakespeare!’ in the subject line.

Don’t forget to include your name, address and contact number. Closing date is Thursday 13 November – best of luck!

For more on Pulp! The Classics, check out their website here or follow on Twitter: @pulptheclassics

London is currently the undisputed Shakespeare capital of the world according to the new issue of Shakespeare Magazine

The latest issue of Shakespeare Magazine is now available completely free.

London calling cover
Yes, that’s right. The fourth issue of Shakespeare Magazine celebrates Shakespeare’s London (with guest appearances from Tom Hiddleston, Benedict Cumberbatch, Martin Freeman and Shakespeare in Love). Also this issue: Shakespeare in the mountains of California, New York’s Shakespeare rapper and a plethora of Shakespeare Disasters.

Read Issue 04 of Shakespeare Magazine here.