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Home :: Archive :: 1996 :: October ::
Re: The Mother of All Henry's Redux
Shakespeare Electronic Conference, SHK 7.0732.  Wednesday, 9 October 1996.

(1)     From:   Norman J. Myers <
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        Date:   Tuesday, 8 Oct 1996 09:52:54 -0400 (EDT)
        Subj:   Re: SHK 7.0729  The Mother of All Henry's Redux

(2)     From:   Phyllis Rackin <
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        Date:   Tuesday, 8 Oct 1996 13:56:01 -0400 (EDT)
        Subj:   Re: SHK 7.0729  The Mother of All Henry's Redux


(1)----------------------------------------------------------------------------
From:           Norman J. Myers <
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 >
Date:           Tuesday, 8 Oct 1996 09:52:54 -0400 (EDT)
Subject: 7.0729  The Mother of All Henry's Redux
Comment:        Re: SHK 7.0729  The Mother of All Henry's Redux

On Oct. 8 Jimmy Jung asked:

>First, what other Henry the 6th conflations have been tried, and how have they
>been received.

You might be interested in my modest offering, "Finding a 'Heap of Jewels' in
'Lesser' Shakespeare: The Wars of the Roses and Richard Duke of York, which
compares the rationales for adaptation given by the authors of each.  The first
is, of course, the famous Royal Shakespeare Company production, and the second
is an adaptation prepared 1817 for Edmund Kean.  I found the rationales
remarkably similar.  It's in the New England Theatre Journal volume 7 (1996).

Norman Myers
Bowling Green State University

(2)----------------------------------------------------------------------------
From:           Phyllis Rackin <
 This e-mail address is being protected from spambots. You need JavaScript enabled to view it
 >
Date:           Tuesday, 8 Oct 1996 13:56:01 -0400 (EDT)
Subject: 7.0729  The Mother of All Henry's Redux
Comment:        Re: SHK 7.0729  The Mother of All Henry's Redux

I saw the same production this weekend and had a very different reaction,
perhaps because I saw Barry Kyle's version last year at the Theater for a New
Audience in New York, which I found stunning.  It seemed to me that Michael
Kahn's version was far too genteel, cutting most of Joan, most of the grotesque
business (like Margaret fondling Suffolk's severed head), much of the business
that centered on non-elite characters (the entire Simpcox episode, Jack Cade's
encounter with Alexander Iden), etc.  All this, I thought, in the interest of
constructing a unified story centered on the king and his conflict with
York--weak man vs. strong, sensitive soul vs. macho warrior, etc., etc., etc.
There's going to be another production this winter at the Public Theater in New
York, also a conflated version.  Maybe now that the plays seem to be in style,
we'll get full productions of each of them.
 

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