A Midsummer Night’s Fantasy – Shakespeare’s fascinating fairies are explored in a suitably magical woodland photo essay by Freia Titland

New York-based Shakespearean actress Frei Titland writes:
“This project, entitled ‘Shakespeare’s Magical World’, sets out to explore the magical and ‘unnatural’ elements found in Shakespeare’s work.
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“I gathered a team of incredibly talented individuals to help me bring my ideas to life.
“Dondre Stuetley and Patrick Berwise Jr. helped to create these magical images.
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“The first installation explores the faeries in A Midsummer Night’s Dream.
“Faeries during Shakespeare’s time weren’t always the friendly ones we meet in Midsummer.
“Therefore, I wanted to create an element of mystery along with jovial celebration.
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“Another character makes an appearance in these images – Mother Nature.
“I think Mother Nature aids in orchestrating the events of the World and the Wild.
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“We are also working on a ‘super short film’ for Midsummer.
“I would love to share that with you when it’s complete.”

“We’re all excavators in some way…” In this exclusive interview, Filter Theatre’s Oliver Dimsdale and Poppy Miller tell us about the formative experiences and bold choices that led to their their radical take on Shakespeare’s Macbeth

Images courtesy of Farrows Creative, Bristol.

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Filter Theatre’s maverick style puts sound and music at the centre of all their productions, and their interpretations of Shakespeare are no exception. Artistic Director and founding member Oliver Dimsdale played the title role in their recent production of Macbeth. He and Poppy Miller (Lady Macbeth) both performed Shakespeare for the first time in their early teens, and it was then that they fell in love with the rhythms and imagery of his lines. We met them to discuss staging Shakespeare and their relationships with the Bard.

What was your earliest experience of Shakespeare, and what did you think of it at the time?

Oliver: “Mine was at my secondary school when I was about 13 years old. I auditioned to be in the lower school play, A Midsummer Night’s Dream, and I got the part of Puck. Until then I’d never really keyed in to Shakespeare; I’d seen a couple of Shakespeare shows and it hadn’t really hit me. Up until that point I’d never been able to commit to memory text like it. Puck especially has wonderful verse and I just loved the rhythm. I had a fairly bad stammer when I was younger and it gave me a very real voice on stage. That’s my first memory of Shakespeare: a means by which to express myself through magnificent verse.”

Poppy: “My dad, who died 25 years ago, was a very erudite man. He was a teacher and used to do lots of amateur dramatics at the Maddermarket Theatre in Norwich, where I grew up. I used to go and watch him play big parts and then I started getting involved as well. I auditioned to play Miranda when I was 14 and ended up doing the play with my dad which was amazing. I’ve got some photographs of us doing that together. I have very magical and special memories of that because it was my first experience of real theatres and people being passionate about Shakespeare.”

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Do you have a favourite Shakespeare play?

Poppy: “I’m quite keen on The Tempest. I think that, as with Macbeth, some of the speeches are just jaw-dropping.”

Oliver:King Lear is a big one for me. It probably ties into having done it for GCSE. I think I was starting to get into the possibilities and the power of Shakespeare and perhaps it’s a hangover from that. I’ve seen a couple of productions of it as well that have transported me. It’s thrillingly dark and horrendous.”

Filter Theatre produces truly unique adaptations of Shakespeare’s plays. How do you develop from the play texts to these productions?

Poppy: “A very initial development process is to whack a load of paper on the walls and write on it what we love about the play, what we’re afraid about making a mess of or doing in a dull way – we get all our ideas and fears out straight away. Then we can really start to focus on core elements, so with Macbeth it would be the Weird Sisters, or the banquet, or the heath.

“Ideas of sound are never far from the mix. Tom Haines, the sound designer and composer, built many of the things we play in this production, so we had a huge pallet to work with.

“We’re quite bold with the filleting of the play. We had a dramaturg this time: experienced Shakespeare scholar and director Simon Reade, and he was very helpful. We’d go ‘What about sounds in this play?’ and he’d come back the next day with a full list of all the references to sound.”

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Oliver: “With new works we tend to focus on narrative first, though sound still plays an important role. But with Shakespeare we have the story there already, so we feel as if we have a good head start and can just crack on with finding ways we can deconstruct and put together.”

How did you prepare for your roles?

Poppy: “In my experience of playing a Shakespeare role over a long period, you find out more every week, and you can only do that by learning it and then trying to put yourself out of the picture. Inevitably your actor’s worries come up – I think we’re still asking ourselves questions now because there are so many possibilities and ways of playing it. In this production we’ve chosen proximity at places where you wouldn’t normally have it; for example, the only time our characters are intimate is in front of loads of other people in quite a grotesque way, whereas a lot of productions would have a much more…”

Oliver: “Sexual charge.”

Poppy: “Yes – he comes to the castle and they consume their ambition, and that’s almost better than the end itself.

“We’ve also stylised the movement a little bit, so there are always questions. But that’s good, I think. You just have to commit to the version you’re giving. Like with all great Shakespeare parts you feel a weight of something, which is ‘I’m going to be rubbish,’ basically. But once you’re doing it I think you have a direct connection with the character.”

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Are there any scenes or speeches when you feel that pressure most strongly, or any you particularly enjoy playing?

Poppy: “I have always really liked that scene after the murders, with the two of them. I think it’s just so brilliantly written, and the way Shakespeare’s written his half- and quarter-lines is just amazing dialogue with, when Macbeth talks about sleep, some of the most beautiful but domestic images. He’s talking about a jumper that’s fraying – or that’s how I see it!

“I think the summoning the spirits speech is great when you’re doing it, but it’s always had a whiff of failure about it for me. I did a really interesting workshop with an amazing Russian director – I’m not going to name any names. Myself and a lot of other actors were at the RSC and had been there about six months. And every time any of us stood up as Lady Macbeth, we’d breathe in and he’d go, ‘Niet.’ Just the way you breathed in wasn’t right! But I think you’ve got to remember it’s a woman. It’s a woman who’s in a very isolated place, who has a lot of capabilities but not the means to get what she wants, and all these things we can identify with.

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Some people might say your productions are not how Shakespeare intended his plays to be performed. What would you say to them?

Oliver: “The first thing I’d say to that is that no one actually knows what he intended, unless we can go back in time and speak to him. Basically we’re all excavators in some way. There are many brilliant scholars who keep on unearthing little titbits of information that might lead us a little bit closer to how it would have been done at the time, but I think a piece of art should keep on creating and moving.

“I often go to the Globe, and I love it there – knowing the actors can see whites of the eyes of the audience in broad daylight – where many of the clothes have been made in the original way and the jigs at the end are magnificent. It’s absolutely got a very strong place in our telling of Shakespeare stories now.

And I think at the same time, there can be many more braver productions than we dare to do, that have just as much of a right to be around. So I think the so-called Shakespeare purists, whatever that means, whoever they are, whatever their purpose is, are perhaps barking up the wrong tree, because there are many shapes and forms Shakespeare can take.”

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Poppy: “I think the thing to say about all of us in this company is that we do really, really love Shakespeare. Sometime people misunderstand our approach; they think it’s not possible to improve on Shakespeare. But that’s not what we’re trying to do. We’re inspired by, and every word of our Macbeth is, Shakespeare.”

Read more about Filter Theatre’s Macbeth in Issue 5 of Shakespeare Magazine.

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.

Visionary director Julie Taymor to release film of her acclaimed stage production of Shakespeare’s A Midsummer Night’s Dream

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Back in January, Julie Taymor’s stage production of A Midsummer Night’s Dream ended its run at Brooklyn’s Polonsky Shakespeare Center. But the maverick director has now finished a film version of Dream.

Taymor earned respect from Broadway with her Tony Award-winning production of The Lion King (itself partly inspired by Shakespeare’s Hamlet) and from Shakespeare fans with her visionary film versions of Titus Andronicus and The Tempest. Now Taymor’s Dream looks to combine the best of her stage and film work.

Ben Brantley of the New York Times says of  the Dream stage production that it “doesn’t so much reach for the heavens as roll around in them, with joyous but calculated abandon.”

But those familiar with Taymor’s work on the ill-fated Spider-Man stage show need not fear any repeats of airborne mishaps. “Spider-Man, it seems, was just a dry run for A Midsummer Night’s Dream.” Brantley continues, “This time, Ms. Taymor holds on to her wings, and keeps her production and ambitions aloft.”

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Rather than adapting the play as a film or presenting it as a live screening, Taymor has created “a real hybrid of live theater and film” by filming multiple productions and then going in with handheld cameras during the day for close-up footage. While the end result is “very cinematic,” Taymor stresses that “there are no visual effects - they’re all live.”

Taymor reportedly hopes to premiere the movie at the Toronto International Film Festival this September.

Go here for more on Taymor’s stage production of A Midsummer Night’s Dream.

 

Three new Shakespeare plays from Globe on Screen

Jessie Buckley as Miranda and Roger Allam as Prospero in The Tempest.

Jessie Buckley as Miranda and Roger Allam as Prospero in The Tempest.

Shakespeare’s Globe, in partnership with Arts Alliance Media, will bring three of its 2013 ‘Season of Plenty’ theatre performances to cinemas around the world this summer. Following  last year’s Henry V, The Taming of the Shrew and Twelfth Night, Globe On Screen 2014 will feature a trio of supernatural Shakespeare classics: The Tempest from 28 May, Macbeth from 25 June and A Midsummer Night’s Dream from 15 July, with additional encore screenings.

All three performances have been captured in high definition and will be broadcast in their entirety in pristine digital cinema quality, with full 5.1 surround sound offering audiences the opportunity to experience the world’s most famous stage as if they were there in person.

Globe On Screen continued to go from strength to strength last year, with a record-breaking 2013 season of over 2000 screenings in 12 countries. Box office grosses in 2013 increased by more than 300% from 2012 and Twelfth Night, starring Mark Rylance and Stephen Fry, proved to be the best performing Globe On Screen production to date.

Artistic Director of Shakespeare’s Globe, Dominic Dromgoole, says of Globe On Screen “Thousands of people saw these enchanting sell-out productions at the Globe last year, and we are delighted to be taking them to thousands more across the world with the latest cinema releases. From Colin Morgan’s otherworldly Ariel to Samantha Spiro’s earthy, tempestuous Lady Macbeth, 2013 was a season of dazzling performances in definitive productions of three of Shakespeare’s greatest plays.”

Tickets for the 2014 season are on sale now. Find more info and showtimes here.

The new Globe On Screen season will also be releasing later this year on selected screens across North America, Australasia and Europe.