2014

Reasonable London Lodgings as Recommended by SHAKSPER Subscribers

The Shakespeare Conference: SHK 25.218  Wednesday, 30 April 2014

 

From:        Hardy M. Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         Wednesday, April 30, 2014

Subject:    Reasonable London Lodgings as Recommended by SHAKSPER Subscribers

 

I have been asked by some to post the results of my request for information about lodgings in London. I have lost track of the number of recommendations but the number was well over 30. 

 

I have tried to organize those recommendations into I. Hotels (including bed and breakfast guest houses and family run hotels), II. Short-Stay Apartments, III. University/College Residence Halls that welcome scholars, and IV. Web Sites for searching.

 

I should add that by far and away the most recommended Hotel was the Tavistock in Tavistock Square.

 

 

I. Hotels (including guest houses and family hotels)

  1. Tavistock http://www.imperialhotels.co.uk/tavistock
  2. Thanet http://www.thanethotel.co.uk
  3. Bloomsbury Park, 126 Southampton Row 
  4. Jesmond Hotel, 63 Gower St, Bloomsbury
  5. St Giles Classic Hotel, Bedford Ave,
  6. The Lonsdale Hotel, Bedford Pl
  7. Edward Lear Hotel, 28-30 Seymour St.,
  8. Cheshire Hotel 110 Great Russell St
  9. Arran House, 77-79 Gower Street 
  10. Alhambra Hotel, 17-19 Argyle St
  11. Park Lane Mews Hotel, 2 Stanhope Row
  12. Marlyn Lodge, Portsoken St
  13. George Hotel, 58-60 Cartwright Gardens
  14. Travelodge London Vauxhall Hotel, 3 Bondway
  15. Travelodge London Central Southwark Hotel, 202 - 206 Union Street
  16. 69 The Grove, 69 Vauxhall Grove (B and B)
  17. Goodenough Club, 23 Mecklenburgh Square
  18. Penn Club, 21-23 Bedford Pl (Quaker Hotel)

 

II. Short-Stay Apartments: 

 

    19. Acorn of London Serviced Apartments, 19 Bedford Pl

    20. Glenthurston Self Catering Apartments, 27 Canadian Ave

    21. Bloomsbury Apartments London - Holiday Rental and Short Stay - WC1 Serviced

 

 

III. College/University Residence Halls

 

    22. Kings College Residence Halls

    23. University of London Residence Halls

 

 

Recommended Web Site for Searching for Lodging

 

     24. www.kayak.com

     25. Wimdu.com

     26. AirBnB.com/s/London

Who was the Chandos artist?

The Shakespeare Conference: SHK 25.217  Wednesday, 30 April 2014

 

From:        John Briggs <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         April 30, 2014 at 9:24:19 AM EDT

Subject:    Re: Chandos Portrait

 

I have to say that I am deeply unconvinced by Katherine Duncan-Jones’s TLS piece. It exhibits the common failing of marshalling evidence in favour of a pre-existing thesis, rather than dispassionately considering all the evidence. She dates the portrait to 1610 simply because Joseph Taylor was born in 1586, and is thus too young to have painted the portrait any earlier! (If the portrait is indeed of Shakespeare—which I doubt—it would have to have been painted in 1600 or earlier, as it depicts a youngish man—Shakespeare was 36 in in 1600: he aged prematurely, and died at 52.) She glosses over (I think she fails to mention it) the point that Taylor only joined the King’s Men in 1619 on the death of Richard Burbage, and then took over the latter’s roles (which included Hamlet, obviously.) He had no previous connection with that acting company or with Shakespeare. The idea that Taylor would have previously acted the part of Hamlet for a rival company is best described as ludicrous. Shakespeare forfeited his share in the Globe when it burnt down; I don’t know if it is known for certain that he sold his share in the King’s Men at the same time. Either way, I don’t believe he held a share in the Blackfriars Theatre, so his (joint) purchase of a property at Blackfriars (before the Globe fire) would have been in connection with the King’s Men’s residency there. Any continuing theatrical associations would thus have been with the King’s Men. Joseph Taylor’s only associations with the Blackfriars Theatre would have been before 1608 with the Children of the Chapel Royal [Children of the Blackfriars], or after 1619 with the King’s Men.

 

John Briggs

 

Article on The Theatre

The Shakespeare Conference: SHK 25.216  Wednesday, 30 April 2014

 

From:        Mark Mannette <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         April 29, 2014 at 3:40:37 PM EDT

Subject:    Article on The Theatre

 

[Editor’s Note: The following article appeared on the BBC web site. –Hardy]

 

http://www.bbc.com/news/entertainment-arts-21293824

 

7 February 2013 v

New theatre to rise at site of Shakespeare playhouse

By Neil Bowdler

BBC News

 

Planning permission has been granted to build a theatre on the site of a playhouse where the young William Shakespeare worked.

 

A six-storey theatre and cafe will be built above the remains of what was known to the Bard as simply “The Theatre”.

 

Visitors will be able to peer down to the foundations through glass panels in the ground floor.

 

The remains were found in Shoreditch, east London, during a 2008 dig.

 

The Theatre opened to audiences in 1576. A year later, another playhouse, the Curtain, was opened nearby.

 

Both were polygonal wooden structures like the reconstructed Globe Theatre on London’s South Bank.

 

Both theatres were built outside the city walls after players were formally expelled from London in 1575 to protect against disease and poor morals.

 

Shakespeare is believed to have acted on both stages after arriving in London from Stratford, and early plays, including Romeo and Juliet, were performed at the venues.

 

“This wooden O”, cited in the Prologue of Henry V, is believed to refer to the Curtain.

 

The scheme for The Theatre comes from the Belvedere Trust and is designed by Cambridge-based architects Bland Brown and Cole.

 

Neither architect nor client would comment on the scheme when contacted by the BBC, but in a submission to the planning authorities of Hackney Council, they state the building will consist of a “new, purpose-built three-level theatre of exceptional quality”.

 

“The building will also include permanent viewing of the historical artefacts found on the site, including the original Theatre remains,” they add.

 

A previous application for a four-storey building was approved in 2009, but the new design will create a theatre with a larger capacity and enable the display of the archaeological remains at ground-floor level.

 

 

Curtain plans

 

Another mixed-use scheme has been proposed for the site of the Curtain, remains of which were discovered in a goods yard behind a pub in Shoreditch in 2011.

 

Dubbed the Stage, the project by Plough Yard Developments and designed by architects Pringle, Brandon, Perkins and Will, will see the archaeological remains put under glass at the centre of a new public plaza and performance space.

 

Visitors will be able to visit the remains close up, and a museum will be built.

 

To the edges of the new plaza, will be office space and a 40-storey residential tower block. A disused section of a railway viaduct on the site will be converted into gardens.

 

The application is scheduled to go before a Hackney Council committee in April.

 

Lead architect John Drew told the BBC: “First of all we want to fully discover the theatre and bring it back to life.

 

“We want to place it at the heart of a scheme and the heart of a public space where people can come and see it and enjoy it and learn about it.

 

“You’re going to see some areas of glass paving [in a courtyard] and when you walk across those, you can look down and see the Elizabethan theatre below you. It’s going to be living history.”

 

Marc Zakian, a tour guide and Shakespeare expert, believes both The Theatre and the Curtain can put Shoreditch and the wider borough of Hackney on the international tourist map.

 

[ . . . ]

 

CFP: Pacific Northwest Renaissance Conference

The Shakespeare Conference: SHK 25.215  Wednesday, 30 April 2014

 

From:        Sean Lawrence <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         April 29, 2014 at 5:18:46 PM EDT

Subject:    Call for PNRS Conference in the Fall

 

The next meeting of the Pacific Northwest Renaissance Conference will take place on the weekend of October 22 to 24 in Kelowna, a resort town at the centre of British Columbia’s wine country.

 

The Pacific Northwest Renaissance Society (PNRS) promotes scholarship in Early Modern Studies by hosting an annual conference, held alternately in the United States and Canada and open to all scholars from North America and beyond, including graduate students. The PNRS is an affiliate of both the Renaissance Society of America and the Canadian Society for Renaissance Studies / Société Canadienne d'études de la Renaissance.

 

The theme of this year’s conference is “The Global Renaissance.” George Saliba, of Columbia University, and Lesley Cormack, of the University of Alberta, will provide keynote addresses. The theme should be understood broadly, but we particularly welcome papers on exploration narratives, geographical knowledge, and contact and influence between cultures and languages. While the Renaissance is usually considered a European event, neither its sources nor its influence are confined to western Europe. We therefore seek to work actively with scholars of both European and transatlantic culture and society from 1300-1700, including art historians, economists, historians, scholars of religion, theatre historians and practitioners, scholars in the history of science and medicine, political scientists, and comparativists. Papers are usually presented in English, but may concern the literature, history or culture of any language.

 

For individual papers, please send a one-page abstract or proposal and a one-page c.v. to This email address is being protected from spambots. You need JavaScript enabled to view it. no later than June 15th, 2014.

 

To propose a panel, please send an abstract for each paper, a one-page c.v. for each presenter, and a paragraph from the panel organizer describing the overall focus of the session to This email address is being protected from spambots. You need JavaScript enabled to view it. no later than June 15th, 2014.

 

Papers must be kept to a twenty-minute reading time, including any technical and electronic support. All papers should be essentially new and never before presented in public.

 

For more information see: www.pnrs.org

 

Hilary Mantel on Shakespeare’s History Plays

The Shakespeare Conference: SHK 25.214  Monday, 28 April 2014

 

From:        Al Magary <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         April 28, 2014 at 2:08:05 AM EDT

Subject:    Hilary Mantel on Shakespeare’s History Plays

 

The Royal Shakespeare Company has been producing a double bill based on Hilary Mantel’s twin-Booker novels about Thomas Cromwell, Wolf Hall and Bring Up the Bodies.  The author was interviewed in the Guardian:

 

Did you find yourself going back to Shakespeare's history plays when the idea of this production came about?

 

I discovered Shakespeare for myself when I was about 10. No one told me it was difficult so I didn’t think it was. Reading Shakespeare was always pure pleasure. But the way that the history plays were presented is not how we do history today. People sometimes say to me: “Why do you make a fetish of historical accuracy? Shakespeare didn’t”. My answer is always simply “I am not Shakespeare”. He could get away with anything.

 

http://www.theguardian.com/books/2014/apr/27/hilary-mantel-interview-wolf-hall-novelist-margaret-thatcher-assassin

 

The production, starring Ben Miles as Cromwell, is moving from Stratford to the West End (Aldwych Theatre, May 1-September 6).  The director, Jeremy Herrin, commented on our Tudor fascination:

 

“You can find out a lot about who we are now by looking through the prism of history,” Herrin suggests, arguing that it is this “sense of where our nation was defined” that continues to inspire our fascination with the Tudor era. “It’s one of those stories that every generation can look at again and find different meaning in,” he says. “There’s also a sort of horror about the tyranny underneath those facades that we’re really keen to revisit and to analyse.”

 

http://www.theguardian.com/stage/2014/apr/25/jeremy-herrin-rsc-hilary-mantel-west-end-wolf-hall

 

Let me see, will the RSC productions turn up on BBC or Masterpiece Theater?

 

Cheers,

Al Magary

 

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