A powerful short film from Fractured Shakespeare, Was it Rape Then? makes unsettling use of Shakespeare’s words. Co-creator Charissa J Adams takes us behind the text

Was it Rape Then? from Lady Brain by Casey Gates on Vimeo.

How did the idea arise for using Shakespeare in this film?
“The idea originated with Shakespeare. For as long as I can remember, I have loved Shakespeare. Not just the plays and stories, but the words and metaphors he uses to express the human condition. A few years ago, the idea emerged to take Shakespeare’s words out of context and use them to express a new character’s thoughts and emotions. I then started playing around with pairing famous lines from different plays together to find new meaning. Last November, I set about forming a monologue on a subject which has resonated with me for a long time. This text was the result. From that monologue, this short film was made.”

Jessica Marie Garcia

Jessica Marie Garcia

The script includes lines from The Taming of the Shrew, Much Ado About Nothing, The Tempest, Macbeth, Henry V and Coriolanus. But the title doesn’t seem to allude to Shakespeare? What was your thinking behind that choice?
“The title and first section of text comes from Double Falsehood, which is most likely not Shakespeare’s words, but the passage was just too rich to ignore. And since it speaks to doubt in consent, the doubt surrounding the text’s origins seemed strangely appropriate. I could not ignore its usefulness, and it played such a crucial role in inspiring the creation of the piece, that it felt appropriate to leave it in.”

Karen Pittman

Karen Pittman

Double Falsehood is very rarely cited – what led to your interest in it? Was there a particular edition you used? And would you recommend it as a stand alone work?
“As I was creating this piece, I began searching any of Shakespeare’s text which dealt with consent and/or rape. This monologue of Henriquez is what surfaced. It is quite an interesting piece of text when you think about the time in which it was written. Consent is something we are much more aware of now, especially in the last five or ten years. However, here we have this man arguing with himself over whether or not he raped this woman.

Charissa J. Adams

Charissa J. Adams

“He uses the excuse that we often still hear men use today: ‘Twas but the coyness of a modest bride, Not the resentment of a ravish’d maid’. Essentially saying she was just shy and she didn’t say ‘No’. This is the very reason More Than “No” was started. Consent is more than not hearing ‘No’. It is a freely given, not under the influence of drugs or alcohol, not under-age, and an undeniable ‘Yes’, given verbally or non-verbally.

“In the end, he concludes: ‘While they, who have, like me, The loose escapes of youthful nature known, Must wink at mine, indulgent to their own’. Saying any other man would have done the same or ‘Boys will be boys’. This is the epitome of rape culture, which is exactly what we are trying to confront with Was it Rape Then?.

Sujana Chand

Sujana Chand

“As for the edition, I use the Shakespeare app produced by PlayShakespeare.com for a lot of my research. It is so easy to use! They site the year as 1728. That is all the information I could find about which edition they use.

“I would not recommend it as a stand alone piece. I think it is flawed in several ways – in the characters and especially the ending which seems to wrap up too quickly without fully dealing with each of the character’s arcs. I think that The Comedy of Errors and The Two Gentlemen of Verona are superior plays with similar themes.”

For many fans, nothing beats the thrill of experiencing Shakespeare in a suitably historic venue. And now Read Not Dead on the Road is exploring the Bard’s links to the legal profession at London’s Inns of Court

Actors and lawyers perform George Gascoigne’s 1573 play Supposes at Gray’s Inn.

Actors and lawyers perform George Gascoigne’s 1573 play Supposes at Gray’s Inn.

Shakespeare’s Globe is on a quest to stage every play known to have been performed on the stages of London before 1642. Launched in 1995 by Globe Education, Read Not Dead brings actors, audiences and scholars together to explore and celebrate those plays by Shakespeare’s contemporaries via script-in-hand, play-in-a-day performances. They are not meant to be polished productions, but there is a shared spirit of adventure and excitement for the actors and audiences uncovering these hidden gems.

Actors rehearse Lady Mary Wroth’s Love’s Victory (c. 1620) at Penshurst Place, Kent.

Actors rehearse Lady Mary Wroth’s Love’s Victory (c. 1620) at Penshurst Place, Kent.

Part of the project is to take these rare plays back to their historical context. Last summer, Loves Victory by Lady Mary Wroth was staged at Penshurst Place in Kent. It is the first pastoral comedy known to be written by a woman, and Penshurst Place is the very location it is most likely to have been written and first performed 400 years ago.

At the beginning of its new ‘Shakespeare and Friendship’ season of public events, Globe Education is taking Read Not Dead across the river Thames to London’s Inns of Court for a special series celebrating the ‘amity of the inns’. The series launched in November with a performance of The Most Excellent Comedy of Two The Most Faithfullest Friends Damon and Pithias. Written around 1564 by Richard Edwards, a little-known precursor to Shakespeare, this tragi-comedy celebrates true and virtuous friendship.

This reading of Richard Edwards’ 1565 play Damon and Pythias took place last year at Middle Temple Hall.

This reading of Richard Edwards’ 1565 play Damon and Pythias took place last year at Middle Temple Hall.

Today, friendship between the Inns and among members remains a cornerstone of Inns of Court culture, as lawyers from around the world live, study and practise together in shared amity. The Inns of Court in London are the professional associations for barristers in England and Wales. The relationship between the law and the theatre in London is almost as old as the Inns of Court themselves. All four – Inner Temple, Middle Temple, Lincoln’s and Gray’s – are known as famous, and sometime infamous, venues for professional as well as amateur drama. The first recorded performance of Twelfth Night took place in Middle Temple Hall in 1602, an event which was celebrated on its 400th anniversary with a production of the play in the same venue by actors from Shakespeare’s Globe including Mark Rylance and Stephen Fry.

The Globe’s Read Not Dead allows historic plays to come alive for modern audiences.

The Globe’s Read Not Dead allows historic plays to come alive for modern audiences.

The Comedy of Errors is recorded to have been performed in 1594 at Gray’s Inn. Shakespeare was interested enough in the Inns of Court to make them the setting for Act II, Scene IV of Henry VI, Part 1.

Iain Christie is a barrister and trained actor who combines both practices. As a Bencher of the Inner Temple and a member of the Inner Temple drama society, he was involved in the Globe’s previous performance of George Gascoigne’s Supposes there last January, performing alongside Globe actors and his fellow Benchers. “The relationship between the two professions extends beyond the use of legal venues to stage historic plays,” he says, “and the pleasure of lawyers entertaining their colleagues in after-dinner revels. It applies also to the comparative skills employed by both professions.”

High Court Judge Sir Michael Burton also took part in the staged reading of Supposes at Gray’s Inn.

High Court Judge Sir Michael Burton also took part in the staged reading of Supposes at Gray’s Inn.

Indeed, modern training courses for young lawyers increasingly engage professional actors to teach presentation skills which focus on breathing, posture, presence, and vocal projection. “I am interested in how law students can use the drama-school techniques of narrative and improvisation in their work,” says Iain. “Storytelling is a core aspect of the craft of both the advocate and actor. The advocate must always remember that his objective is to connect emotionally with the person he is trying to persuade.”

But, as Iain explains, this transference of skills does not only travel in one direction. “When I was at drama school,” he says, “I was struck by the similarity between the process of textual analysis in rehearsals and preparation for trial. The actor must create a consistent back-story for their character so their performance is grounded in a continuing reality. A barrister must build a case theory for a version of events he wishes the judge or jury to believe.

And the processes are strikingly similar. “However, whenever someone comments that in becoming an actor I am really just doing the same job I remind them that, whilst advocacy may at times be entertaining, a lawyer is engaged in a serious business. He is not there to put on a performance. Any advocate who plays to the gallery will be given a hard time in court.”

Read Not Dead at Middle Temple Hall.

Read Not Dead at Middle Temple Hall.

Post Script: Read Not Dead at the Inns of Court continued into 2015 as part of ‘Shakespeare and Friendship’. Love’s Sacrifice by John Ford was performed in the Great Hall at Gray’s Inn on Sunday 15 February. The play was dedicated to Ford’s cousin and namesake, John Ford who was a member of Gray’s and who the author called “my truest friend, my worthiest kinsman.”

The performance starred current Gray’s members Master Roger Eastman, High Court Judge Sir Michael John Burton and Masters Charles Douthwaite and Colin Manning. On Sunday 1 March, Inner Temple Hall hosted The Troublesome Reign of King John of England by George Peele, in celebration of the 800th anniversary of the signing of the Magna Carta. And the final reading returedn to the Globe, with the anonymous The Faithful Friends on 19 April.

Go here for more information and booking details on Read Not Dead.

This article originally appeared in Shakespeare Magazine 05. Go here to read the original version.