Shakespeare Magazine Issue 14 is here – And it’s All About Hamlet!

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HAMLET is the theme of Shakespeare Magazine Issue 14, with each and every article devoted to the fictional Prince of Denmark and the play that bears his name.

Rhodri Lewis asks “How Old is Hamlet?” while Samira Ahmed wonders “Why do Women Love Hamlet?” and we review recent productions of the play starring Tom Hiddleston and Andrew Scott.

There’s a set report from the making of Daisy Ridley’s Ophelia movie and a visit to Hamlet’s historic home, Kronborg Castle.

We also delve deep into the Victorian Illustrated Shakespeare Archive’s Hamlet collection, while Gyles Brandreth tells us about his ‘family’ production of the play, and Alice Barclay recounts how she taught a group of amateur actors to become Hamlet.

Go here to read all 14 issues of Shakespeare Magazine completely free.

Actress and producer Joanna Pickering has been telling us about an exciting new TV project, Actors On, which “explores dramatic literature, including Shakespeare, by experiencing the actor’s creative process”

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Pickering as Lady Macbeth

A British actress and producer based in the USA, Joanna Pickering has most recently performed the role of Shakespeare’s Lady Macbeth in a dramatic series, Actors On. This ambitious new TV series aims to help others explore dramatic literature by experiencing the actor’s creative process.

The show was created by stateside Shakespearean actor and teacher Jeff Monahan. “The main aim of Actors On is for younger actors to access the world of Shakespeare, and without expensive fees,” he says. “It is more about the journey for the actor working on their roles, how to break into difficult texts and find character, than showing a finished product.”

“It’s been a great experience,” Joanna tells Shakespeare Magazine. “We are still shooting as it is being performed for camera, on stage and then interviews as the actor prepares. We performed a lot of it on stage, which was fantastic”

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Joanna Pickering and Jeff Monahan on stage as Lady Macbeth and Macbeth

The pilot for Actors On has been made with support from Shakespeare in The Park, PSTV studios and The Porter Theater in Pittsburgh. It will air on cable for public educational purposes at the end of year in USA, and the producers are now taking the series to bigger networks such as Netflix.
“I actually saw your [Shakespeare Magazine] tweet about why they did not have Shakespeare on Netflix,” Joanna says. “And that’s what we are trying to change, to get it into the mainstream, to make it cool.”

Monahan describes Actors On Macbeth as being similar to the style pioneered by Al Pacino in his 1996 documentary/performance hybrid Looking For Richard. Referring to Pickering’s performance as Lady Macbeth, he says: “Joanna brings a sensual ferocity to her role as Lady Macbeth. We’re approaching the couple not as a ‘butcher’ and his ‘fiend-like queen’, as Malcolm refers to them, but as a man and wife dedicated to each other and intimate confidants. I knew Joanna was right for the role, having seen her perform and from how passionate she was about delving into the part.”

Pickering regards it as one of the most challenging roles in dramatic history. “I spoke in preparation with directors Catherine and Paul Calderon,” she says, “who pointed me in the direction of researching Lady Macbeth afresh from the eyes of a warrior who would fight for her country. I researched feminist papers and I tried to play her strength, ambition and need for power over the femme fatale villain – more as a Celtic warrior fighting for her people, where murdering kings was not so unusual. I made no judgement on her actions but attributed them with bravery, and, of course, ruthlessness.”

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Speaking on the overall experience, Pickering is excited, “It was a challenge and delight to work on Lady Macbeth – given the actors whose footsteps I was following. And although it was small budget, the performance edits will be on screen for time to come. I am ready for The Globe! I was very grateful to my experienced and talented co-stars.”

Check the Actors On cast and series information on imdb.

For more information about Joanna Pickering and her work, or to contact her, visit her website.

Set photography by Tanya Dovidovskaya

In a Shakespeare Magazine Exclusive, actress Alison Campbell gives a beautiful performance of the legendary ‘Seven Ages of Man’ speech from Shakespeare’s As You Like It

Shakespeare Magazine visited the cast and crew of 1599: A Year in the Life of William Shakespeare at the 2018 Bristol Shakespeare Festival. Alison Campbell, who’s playing Shakespeare himself, gave us this beautiful performance of one of his greatest speeches, as spoken by Jacques in As You Like It (Act II, Scene 7).

All the world’s a stage,
And all the men and women merely players;
They have their exits and their entrances;
And one man in his time plays many parts,
His acts being seven ages. At first the infant,
Mewling and puking in the nurse’s arms;
Then the whining school-boy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school. And then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress’ eyebrow. Then a soldier,
Full of strange oaths, and bearded like the pard,
Jealous in honour, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon’s mouth. And then the justice,
In fair round belly with good capon lin’d,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slipper’d pantaloon,
With spectacles on nose and pouch on side,
His youthful hose, well sav’d, a world too wide
For his shrunk shank; and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion;
Sans teeth, sans eyes, sans taste, sans every thing.

Text via Open Source Shakespeare

Inspired by James Shapiro’s classic book, 1599: A Year in the Life of William Shakespeare is running at Bedminster’s Stackpool Playhouse (situated in a well-known local church) until Saturday 14 July. Produced by Jacqui Ham, the play has been written and directed by Ed Viney. Apart from Alison as Shakespeare, the cast is completed by Kirsty Cox as Philip Henslowe and Chris Yapp as Will Kemp.

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Running at a short and sharp 70-minutes, it’s a fun and family-friendly introduction to some of Shakespeare’s most famous plays, characters and speeches. It also features the actors building an impressive wooden replica of Shakespeare’s Globe as they act out the playwright’s story.

Go here for more information about 1599 and to book tickets.

Anthony Hopkins, Emma Thompson, Andrew Scott, Florence Pugh, Jim Broadbent and more… Meet the stellar cast of the BBC’s epic new television production of Shakespeare’s King Lear, directed by Richard Eyre

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In the fictional present, the 80 year-old King Lear divides his kingdom among his daughters, Goneril, Regan and Cordelia, according to their affection for him. Cordelia refuses to flatter him, so he banishes her. Having acquired power, Goneril and Regan expel their father from their homes. At the same time, Lear’s prime minister, Gloucester, is betrayed by his son Edmund and his other son, Edgar, is forced to go into hiding. Lear becomes mad, Gloucester is blinded – both the kingdom and the family descend into chaos and warfare.

KING LEAR (ANTHONY HOPKINS)
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King Lear is the totalitarian ruler of a dystopian contemporary England, whose addiction to power and suppression of emotions have skewed his view on reality. Coming to the end of both his reign and his life, Lear is confronting the rifts in his family and his kingdom which a lifetime of hubris and entitlement have caused.

GONERIL (EMMA THOMPSON)
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Goneril is the eldest of Lear’s daughters, married to the Duke of Albany. Emotionally starved by her father and raised to be as ruthless and unfeeling as he often is, Goneril is focussed on gaining the political power she feels she has earned – and will go to any lengths to get it. Her marriage is strained as she aggressively tries to usurp political power, and her husband is caught between loyalty to his wife and his duty to the King.

REGAN (EMILY WATSON)
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Regan is Lear’s middle daughter, married to the Duke of Cornwall. Where Goneril presents a veneer of being cold and aloof, Regan is more passionate and gratuitous in her cruelty. While allied on the surface, she and her sister have bitterly competed their entire lives for the affection of their father and continue to vie for both political power and the affections of Edmund. Her relationship with Cornwall is fuelled by a shared sadistic streak, but Regan is ultimately out for herself.

CORDELIA (FLORENCE PUGH)
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Cordelia is Lear’s youngest daughter. Kind, brave and honest – she is the antithesis of her sisters. Although Cordelia loves her father genuinely, she is not willing to exaggerate this love to secure her portion of the kingdom and is banished as a result. Despite this rift she continues to support Lear and demonstrates her strength and integrity as he slowly unravels.

EARL OF GLOUCESTER (JIM BROADBENT)
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The Earl of Gloucester is the Prime Minister and an influential member of Lear’s government. Accustomed to power and influence, he possesses an arrogance that leads to short-sightedness. Gloucester has two sons – Edgar and the illegitimate Edmund – and as with Lear, his undoing is triggered by misjudging and mistreating his children.

EDMUND (JOHN MACMILLAN)
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Edmund is the illegitimate son of Gloucester, who has been abroad for several years. Seething with resentment at his second-class status, Edmund seizes an opportunity to advance politically.

EDGAR (ANDREW SCOTT)
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A mild and trusting intellectual, Edgar is the son of the Earl of Gloucester and half-brother to Edmund. Honest but easily manipulated, he falls into the trap Edmund sets to disinherit him and has to flee society in order to stay alive. Edgar is forced to survive outside the comfortable world he knows, but as a result he discovers an inner resilience and shows immense grace when reuniting with his father in tragic circumstances.

EARL OF KENT (JIM CARTER)
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The Earl of Kent is a steadfast supporter of Lear, faithful to the king even after he is banished from the court for interceding on Cordelia’s behalf. Despite disagreeing with Lear’s choices, Kent takes up a disguise and follows the troubled monarch and attempts to protect him at any cost.

THE FOOL (KARL JOHNSON)
The Fool is Lear’s loyal companion and occupies the dual role of jester and advisor – one of the few people who, through riddles, can confront Lear with the truth. By his side until the end, the Fool’s title belies his insight and depth of character.

DUKE OF CORNWALL (TOBIAS MENZIES)
The Duke of Cornwall, Regan’s husband, is a sadistic and power-hungry man – cruel and motivated to further his political career at any cost. From his advantageous marriage to his behaviour in the aftermath of Lear’s division of the kingdom, the Duke acts with his own best interests at heart.

THE DUKE OF ALBANY (ANTHONY CALF)
The Duke of Albany is a direct contrast to his wife, Goneril, empathetic and conflicted as he gets caught up in her vendetta against her father. Morally grounded but struggling to exert a sound influence in the chaos created by Lear and his family, Albany must decide where his loyalties truly lie.

OSWALD (CHRISTOPHER ECCLESTON)
Dedicated chief of staff in Goneril’s household, Oswald is a fastidious man devoted to his mistress and wholeheartedly supportive of her grievances against her father.

Adapted and directed by Richard Eyre, King Lear is broadcast on Bank Holiday Monday, 28 May at 9.30pm on BBC2.

Watch the trailer of King Lear here.

“I love the fact that the Balcony Scene in Romeo and Juliet technically doesn’t exist…” We asked Six Questions about Shakespeare to Melissa Barrett of South West England-based Sun & Moon Theatre

Which play or area of Shakespeare are you working on right now – and what are you getting from it?

“After Twelfth Night finished in November 2017, we took a break over Christmas, but it’s hard to not reflect on ideas, even when you’re meant to be taking a break. At the moment, we’re looking at Romeo and Juliet, as David (my Co-Artistic Director) and I have a tendency to flip back and forth between plays that we’re itching to do. In 2016, David was eager for us to do The Two Gentlemen of Verona, in 2017 I was keen to do Twelfth Night, and now he has a strong urge to do Romeo and Juliet – a play driven by youth – while we’re still fairly young!

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“We’re getting so much from working on Romeo and Juliet, especially in terms of exciting conversations in these pre-production stages – it feels like striking a match before the candle lights up. We’ve re-read the play, re-watched some adaptations – including the 1936, 1968 and 1996 films, and even an adaptation of the ballet – for inspiration, and chatted about past productions we’ve seen, discussing what works and what doesn’t (for us) in all of these adaptations, and with the play itself. Our intention is also, while we cut the script, to compare the Quartos and the First Folio while we edit, in order to create a script that we’re happy with. Finding our production concept is currently dominating conversation, as Romeo and Juliet is so frequently done that it is tricky to find a concept that really excites or feels unique without being gimmicky. But more importantly the goal is to find a concept that feels fitting right now for audiences today, and yet also feels like a Sun & Moon production, as we’ve been exploring and building our identity as a company over the last few years.

Our summer open-air show is As You Like It. We’re excited about this one as, truth be told, we’re not big fans of this play, and we are hoping by doing it ourselves we will understand why people love it. We have a concept that we’re looking forward to getting our teeth into, and already we are finding wonderful moments within the play as we begin our text sessions with our actors.

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What have you learned about Shakespeare that would have surprised your younger self?

“I think I would have been surprised by how Shakespeare is such a huge part of my life, and that it would invoke such wonderful conversations between friends and loved ones. I’ve had chats about characters, themes, the plays themselves, which could have gone on for hours and hours. When I was first introduced to Shakespeare at 13, when beginning Year 9 at school, I had been warned by others that Shakespeare would be really hard and really boring. To my absolute surprise, I loved it (I give a lot of credit to my old CGP Macbeth book). It felt like a world had opened up and my imagination was captured. I loved reading text that could have so many possible meanings, and exploring such fascinating, layered characters. Did I know at 13 that I would have loved working with Shakespeare so much that I’d do a Staging Shakespeare Masters degree and that I’d set up a theatre company revolving around it? I definitely would have been surprised, but hopefully in a positive way.

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“Being more specific, and based on what we’re doing now, I would have been stunned that different versions of the plays exist – Quartos and Folios – and how editors have such an impact on how audience and readers perceive the plays. I first discovered that in my third year studying English at university. Younger me would definitely have been surprised by how much I love the First Folio and how I use it as a tool in acting and directing. It is such a joy of a text to use, and I love how many discoveries you make and clues/inspirations you get from just looking at First Folio edition (or even a Quarto!). It is like a mini director in the text offering guidance.”

Which Shakespeare character most resembles you?

“Interestingly enough, it may well be the character I most recently played, Viola from Twelfth Night. I remember asking a professional who would come in to work with us on monologues while training with Year Out Drama, a lovely man named Alec Wilson, which character I should consider for speeches. He recommended that I look at Viola, as I seem like a natural Viola. For some bizarre reason, I didn’t follow up on that until four or five years later, when I was cast as Viola in a production while training for my MFA. I suddenly realised what Alec was talking about – that part fit me like a glove.

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“I can relate to Viola. While cross-dressing Rosalind feels more like a natural extrovert, Viola is a natural introvert like myself, who has to play an extrovert in a character like Cesario, and does enjoy this taste of liberty via performance (until things go wrong). I relate to Viola’s empathy, her compassion for others, her diplomacy, her passion, her love for her family, and her personal neuroticism – like me, she’s a dweller who worries a LOT, and has to force herself to not think about it: ‘Time thou must untangle this’. She is a quiet figure, but when it matters, boldness will come to her and she is no pushover – I hope that is me too. On a more trivial note, like Viola, I am no athlete (always had Ds for PE at school), and identify with her terror at being in any kind of physical fight. It’s why we had a boxing scene early on in which she fails against another woman (Orsino’s household, in our interpretation, were all women pretending to be men, partly to highlight Orsino’s denseness) and why we usually cut the ‘A little thing would make me tell them how much I lack of a man’. We didn’t want her argument to be gendered. Our philosophy was, ‘Viola, women can fight, but you can’t’. Playing her in our own production throughout 2017 was an absolute joy.

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“There is the touch of the Hermia in me too – five foot two, in a very loving relationship, but prone to passion and fieriness when crossed, inherited partly from my loving, yet fiery-natured Irish family… ‘Though she be but little she is fierce’. A touch of fiery Hermia spirit helps when running a theatre company!”

If I ask you to give me a Shakespeare quotation, which is the first one that comes to your mind?

“‘A good leg will fall, a straight back will stoop, a black beard will turn white, a curled pate will grow bald, a fair face will wither, a full eye will wax hollow, but a good heart, Kate, is the sun and the moon’ (Henry V). It partly inspired the name of our company.”

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What’s your favourite Shakespeare-related fact, myth, story or anecdote?

“I love the fact that the balcony scene in Romeo and Juliet technically doesn’t exist. It has become so engrained in our culture that it gets called ‘The Balcony Scene’, when not once is a balcony mentioned. We’re currently debating whether or not we have one in our own production! It allegedly emerged in Thomas Otway’s play, The History and Fall of Caius Marius, which was inspired heavily by Romeo and Juliet. Otway staged his equivalent scene ‘in the balcony’ and David Garrick used a balcony in his staging of Romeo and Juliet. It’s one of example in how much I love that productions in their place and time can have such a significant impact on cultural consciousness, to the extent that Juliet’s balcony via her ‘house’ (Casa di Giulietta) is an attraction that tourists flock to every year, and that there is even a Juliet Club, in which people write to ‘Juliet’ and get replies from volunteers who answer as ‘Juliet’ – a mythical character. That in itself is fascinating, as it all started when people left letters by Juliet’s ‘Tomb’ back in the 1930s, and the caretaker was so moved that he sent replies, starting this wonderfully bizarre movement. The power of Shakespeare is phenomenal sometimes.”

You have the power to cast anyone in the world (actor or otherwise) to play any Shakespearean character. Who do you choose – and which role do they play?

“I love Classic Hollywood so I have a tendency to cast people in my head who couldn’t possibly be cast because they’re no longer around, and that style of performance is long gone. I’m a big fan of the film The Philadelphia Story,  and watching Katharine Hepburn in that, I would have loved to have seen her take on Beatrice, perhaps with Cary Grant or Jimmy Stewart as Benedick.

“Sticking to  Much Ado,  and being more realistic in terms of casting living performers, I love Damien Lewis and Sarah Parish’s performances as Benedick and Beatrice in the Shakespeare Retold adaptation. My partner and I always say that we wish they could play the roles in the actual play. Plus I recently read an interview with Helen McCrory and she said she’d love to play Beatrice opposite Lewis (her husband since 2007) as Benedick. They’d be fantastic.

“Oh, I can’t stop now! I saw Charles Dance recently do a talk and I asked him which Shakespeare roles would he love to perform that he hasn’t played yet, and he said Malvolio, Titus and Jacques – I would love to see him play all three!

Melissa Barrett is the Co-Artistic Director of Sun & Moon Theatre, which she founded with her partner, David Johnson. They will be touring with Shakespeare’s As You Like It in July 2018.

Thursday 21 June – University of Exeter North Piazza, Exeter
Saturday 30 June – Coleshill Organics, Oxfordshire
Sunday 8 July – The RSC Dell Open-Air Theatre, Stratford-upon-Avon
Saturday 14 July – St George’s Park, Bristol (Bristol Shakespeare Festival)
Wednesday 25 & Thursday 26 July – Poltimore House, Exeter
Sunday 29 July – Queen’s Drive Space, Exmouth

Go here to find out more about Sun & Moon Theatre.

Dealing with one of Shakespeare’s most famously punishing roles, Year of the Mad King is the latest highly-readable and revealing volume of Antony Sher’s behind-the-scenes diaries

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Published in 2015, Antony Sher’s Year of the Fat Knight recounted his journey of transformation in bringing Shakespeare’s Falstaff to the stage with the Royal Shakespeare Company. The book was a sequel of sorts to Year of the King, which chronicled the actor’s landmark 1980s Richard III. And now there’s a third volume, Year of the Mad King – and I’m sure you can guess which role this one tackles.

From a Shakespearean point of view, these books are a great read for several reasons. They explore the challenges facing a top-level Shakespeare actor, they take us behind the scenes of a major RSC production, and they share numerous insights into Shakespeare’s texts – some of which have a startling force of revelation. Sher is an engaging narrator, and it certainly feels as though he’s being truthful – painfully so, in fact – with his readers.

The contradictions in his character and status make for an interesting view on things. He’s a celebrated actor, who constantly worries if he’s good enough. He’s famous, but not a celebrity. He’s a knight of the realm, but at times (such as when trying to fix some problems in a Chinese dressing room), he feels virtually powerless. And although Sher is known for playing big characters, there’s also something of an everyman quality to him. He certainly seems to have an instinctive understanding of the kind of details we in the audience would find interesting.

As he takes on the monumental role of King Lear, Sher is in his mid-sixties and coping with a series of family bereavements, a seriously injured arm and a (possibly psychosomatic) deafness that he refers to as ‘Lear’s Ear’. Fighting in his corner, he has his life partner Gregory Doran (who is, of course, the RSC’s erudite and ebullient Artistic Director), a loving circle of colleagues, friends and extended family, and his own lifetime’s worth of acting experience.

Like Sher’s previous volumes, Year of the Mad King is highly readable, full of fascinating Shakespearean insight and detail, and impressively illustrated with the author’s own paintings and sketches.

Year of the Mad King is available from Nick Hern Books, priced £16.99

“I was Richard, I was Hamlet…” Young Indian writer Amogha Sridhar discovered Shakespeare during her childhood. Here, she tells us about the sense of familiarity she found in his works, and how this in turn has stimulated her own creativity.

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One day when I was ten and down with a fever, I was given a copy of Tales from Shakespeare by Charles and Mary Lamb. My mother had bought it from one of the old second-hand bookstores in Bangalore. It was a late 2000s edition, a green book with grey illustrations and it had questions in the end. Eyes burning, I read the whole thing in one sitting. I remember two things vividly. One, I thought Florizel (from The Winter’s Tale) was a fascinating name I should use in a story, and two, the witches in Macbeth were the most interesting characters I’d ever come across.

The next year, I played the First Witch by myself for the literary fest in my school, where I cried “Double, double toil and trouble!” and my hat flew away. I remember thinking that these were the kind of stories I wanted to write (with pencil on coloured paper, but write nevertheless).

At ten, when I first read Macbeth on that gloomy day when I was ill, I was bewitched by the idea of a self-fulfilling prophecy. I couldn’t quite place it then as clearly as I do now but I had found a familiarity in Shakespeare. Shakespeare reminded me of the stories from Indian mythology my grandfather used to tell me in Kannada, the ones with characters larger than life and elaborate arcs that tied together in the end. Nothing I had read in English as a child, a combination of Enid Blyton and EB White, had evoked that sense of familiarity.

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At 16, when I read Much Ado About Nothing, what I loved was the pure scathing wit. That play was fodder to so many daydreams of playful Benedick and Beatrice-sque romance. At 19, when I read Richard II and Hamlet, it was character. In my mind, I was Richard. I was Hamlet. With that came a desire to act in Shakespeare, and I performed the ‘Hollow Crown’ monologue for auditions for university a few months ago.

My current interest in Shakespeare is the idea I’ve come to form that in Shakespeare’s largely auditory culture the beauty of a sentence was more important than numeric or characteristic permanence. It has considerable explanatory power as to the discrepancies between 2,000 men and 20,000 men in Hamlet, or the fact that Yorick has been dead for 23 years and yet Hamlet is in university. The idea suggests that, sometimes, it isn’t about characterisation or logic. Sometimes, characters say things because it needs to be said. In the grand scheme of things, it doesn’t matter if it is contradictory or illogical – as long as it sounds beautiful, it just overrides implausibilities.

And much like my ten-year-old self, I find myself incorporating what I interpret as Shakespeare’s style into my own writing. The drafts of the apocalyptic novella I’m working on don’t add up in terms of chronological sense but sound nostalgic, trees speak up if something needs to be said and a draft contains the phrase ‘Once upon a tiger stripe’.

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Working my way through Shakespeare, I am fascinated with the Shakespearean experiment with meaning and I am most interested in how we can keep that experiment with meaning alive. I want to direct Shakespeare productions that have a conversation with the canon – I think of doubling Aumerle with Exton in Richard II or a production of Hamlet where the poisoned swords are on stage from the very beginning. I think of stirring up the infinite possibilities the canon offers. I want my post-graduate studies to focus on Shakespeare. I want to engage with my little Shakespeare discoveries with an academic rigour.

“I have the exact same spinal curvature as Richard. His chronic pain and shame are very real to me…” Exclusive interview! Last year, Kate Mulvany won acclaim in the role of Richard III for Australia’s Bell Shakespeare Company. So we felt it was high time we asked her Six Questions about Shakespeare…

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Photo by Prudence Upton

Which play or area of Shakespeare are you working on right now – and what are you getting from it?

“The next Shakespeare I’m taking on is still top secret, so I’m not allowed to share just yet. Sorry! However, I have just spent much of 2017 performing as Richard III for the Bell Shakespeare Company – Australia’s very own company devoted to Shakespeare’s works. It was an extraordinary experience. Although I am a woman, I played Richard as a man, which gave a further strangeness to the character. To hear lines of misogyny come out of the mouth of a female actor, playing them straight as a man, added a further ‘discomfort’ for the audience, I suppose. Lines that would normally get a bit of a sexist titter got nervous laughs or horrified gasps…

“It was a fascinating insight into gender, performer and audience relationship. I also worked as dramaturg on the production for two years before we started rehearsals, so that gave me a lot of time to really delve into not just Richard, but all of the characters in his life, and view them through this gender-bending prism.

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Photo By Prudence Upton

“I also have the exact same spinal curvature as the real Richard, so for the first time in 20 years as an actor I was allowed to fully reveal it. I have had to hide my scoliosis from audiences – usually with costuming and lighting and blocking. However, with Richard III, I was free to (literally) expose myself. The chronic pain and shame he refers to in the play are very real to me. Although I don’t agree with his politics, I can empathise completely with the way he walks in the world. I felt a very deep, unexpected, sincere care for him.

“As a result of this insight, I changed the ending of the play and gave Richard a soliloquy, after being wounded by Richmond. (I stole it from King Henry VI, Part III.) I had Richard start with ‘I have often heard my mother say I came into the world with my legs forward…’ and end on ‘I am myself alone’. I wanted Richard to use his final moments to question the audience on whether he was born a monster or made one by his family, and by society.”

What have you learned about Shakespeare that would have surprised your younger self?

That he would be part of my life at all! I grew up in outback Australia. Shakespeare was not an option for us at school – there was no access to any theatrical studies. But somehow, fate led me to studying drama at university in the city. And it was there that I was introduced to Shakespeare. I fell in love with the drive of his ideas, the muscularity of the language, the epic in the domestic, the domestic in the epic… Since then, I have found myself performing regularly in Shakespeare’s works – often as male characters. Cassius. Claudius. Richard. Lady Macbeth. I have no idea how I got here, but I’m so glad I did.”

Which Shakespeare character most resembles you?

“Richard III, physically. Beatrice, personally.”

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Photo by Rush

If I ask you to give me a Shakespeare quotation, which is the first one that comes to your mind?

“‘Tomorrow, and tomorrow, and tomorrow…’ (Macbeth). It’s a simple but profound favourite – heartbreaking and hopeful all at once.”

What’s your favourite Shakespeare-related fact, myth, story or anecdote?

“I love that Shakespeare was a bower bird. He borrowed from myths, legends, publications and anecdotes all the time. It means that when you read a Shakespearean work you get a whole treasure trove of other references that are all wonderful, timeless gifts from the playwright himself.

“I also love that Shakespeare was an actor. You can feel it in his words. He gives you lines and characters that you can’t help but feel he has said aloud as he wrote them – they trip off the tongue and curl round the mouth so addictively. And they are the basis of extraordinary characterisations and narratives that comes from an actor’s pen, fervently and subconsciously writing for himself…”

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Photo by TBC

You have the power to cast anyone in the world (actor or otherwise) to play any Shakespearean character. Who do you choose – and which role do they play?

“Trump. As one of the Plebeians in Julius Caesar. But not one with any lines. Just to make him shut up and listen!”

Just in time for Christmas, the exciting new online subscription platform from Digital Theatre features plenty of top-notch Shakespeare productions – and we are offering one lucky Shakespeare Magazine reader a month’s free subscription!

Good news for Shakespeare lovers who aren’t always able to get to the most prestigious productions in London and Stratford-upon-Avon. Digital Theatre (DT) has announced the launch of an online subscription platform to bring the best of live theatre, ballet, opera and classical concerts, to our own screens. Performances can be streamed anytime, anywhere, to any device – and the service is available now.

The Tempest 2 - production images Topher McGrillis © Royal Shakespeare Company
Subscribers will have access to over 65 productions, the majority of which are exclusive to DT, including: Simon Russell Beale in The Tempest, Paapa Essiedu in Hamlet, and Antony Sher in King Lear, all from the Royal Shakespeare Company; Zoë Wanamaker and David Suchet in All My Sons; Richard Armitage in The Crucible; David Tennant and Catherine Tate in Much Ado About Nothing; operas and ballets from the Royal Opera House and the English National Ballet; and concerts conducted by Sir Simon Rattle and starring the London Symphony Orchestra.

Richard II 1 - production images Kwame Lestrade © Royal Shakespeare Compan
“Britain’s performing arts are world-renowned for their outstanding breadth, quality and diversity,” says DT’s founder, the director and producer Robert Delamere. “This was the inspiration behind the launch of the world’s first online performing arts platform. Digital Theatre collaborates with world-class producing houses to capture and curate their shows and stream them to the consumer in broadcast quality. Up close and personal, for a best-seat-in-the-house viewing experience.”

For £9.99 per month, subscribers get unlimited access to all Digital Theatre’s current and future productions. For non-subscribers, each production is available to rent online for 48 hours, at a price of £7.99.

Henry V 1 - production images Keith Pattison © Royal Shakespeare Company
“Our mission is to make the performing arts accessible to all,” says Justin Cooke, Chairman of Digital Theatre, “irrespective of social, economic or geographic circumstances. The power of digital is providing people, who might not otherwise have the opportunity, with access to fantastic performances, at a fraction of the cost of a typical ticket. We’re broadening access to these phenomenal productions, and preserving their impact for years to come. We aim to bring the drama and emotion of each live performance to the comfort of your home. And for me, this isn’t a replacement for live theatre – it’s a new art form altogether.”

DT will continue to add high-profile shows to its platform, including six new DT captures (two of which are in post-production), and a further 50+ curated productions from some of the world’s leading producers, all scheduled for release over the next six months.

Henry IV Part 1 - production images Kwame Lestrade © Royal Shakespeare Company
Digital Theatre also has an educational arm called Digital Theatre+ which provides more than 1,150 schools, colleges and universities, and three million students, in 65 countries, with access to 795 hours of curriculum-linked, audio-visual content, and 8,150 pages of bespoke written resources. Digital Theatre+ was the recent winner of the Best Online/Live Streaming Platform Award at the Theatre and Technology Awards 2017.

Go here to sign up to Digital Theatre now.

COMPETITION TIME!

For a chance of winning one month’s free subscription to Digital Theatre, simply send us an email at shakespearemag@outlook.com and answer this question:

Who is on the cover of the latest issue of Shakespeare Magazine?

(In case you need some help, go here for a clue)

This competition is open to all our readers, everywhere in the world. The closing date is Friday 22 December 2017, and a winner will be picked after that date.

King Lear - production images © Royal Shakespeare Company
All the current Shakespeare productions available on Digital Theatre:

As You Like It (both The Courtyard Theatre & Shakespeare’s Globe productions)
Berlioz: Roméo et Juliette
Comedy of Errors
Hamlet (Maxine Peake)
King Lear
Love’s Labour’s Lost
Lovesong
Macbeth
Much Ado About Nothing
Romeo and Juliet

From 11 December, the following productions from the Royal Shakespeare Company will be added to DT:

Cymbeline
King Lear
Hamlet
Henry IV, Part 1
Henry IV, Part 2
Henry V
Love’s Labour’s Lost
Love’s Labour’s Won
Merchant of Venice
Othello
Richard II
Tempest
Two Gentlemen of Verona

In the week that Issue 13 of Shakespeare Magazine is finally published, Editor Pat Reid is “thrilled and honoured” to appear as the latest guest in the Reduced Shakespeare Company’s legendary and long-running podcast!

We’re delighted to announce that Shakespeare Magazine’s Editor Pat Reid is this week’s guest on the long-running and supremely entertaining Reduced Shakespeare Company podcast.
You can listen to the podcast here. Hope you enjoy it!

Episode 572. The Shakespeare Magazine, 27 November 2017 (Length 17:05)

Pat Reid
Shakespeare Magazine Editor Pat Reid.

Pat Comments: “I’m thrilled and honoured. Reduced’s frontman Austin Tichenor interviews me with considerable eloquence and charm to explore the story of Shakespeare Magazine, with plenty of laughs along the way. He says the loveliest things about the magazine too. I’m still smiling!”

From the Reduced Shakespeare Company website:

“Pat Reid, the creator, editor, and publisher of Shakespeare Magazine, talks about how the magazine began, why it briefly stopped, and how it has risen again.

“Download all the issues here, then hear Pat discuss how his love of Shakespeare led to this passion project, the complexities of publishing, the importance of fandom, the ironies of branding, the shock and surprise at immediate positive feedback, the glorious idea of treating a 400-year-long gone author as if he’s still alive, the time his love’s labour was almost lost, and how it seems that all’s well has indeed ended all well.”

Austin Tichenor Reduced
Austin Tichenor of the Reduced Shakespeare Company.

You can listen to all 572 Reduced Shakespeare Company podcasts on their website.