Maria

 

The Shakespeare Conference: SHK 23.0244  Thursday, 14 June 2012

 

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

Date:         June 13, 2012 8:15:21 PM EDT

Subject:     Re: SHAKSPER:  Maria

 

Anna Kamaralli wrote:

 

>Richard Madeleine [..] has [...] put forward the theory that as boys 

>probably ‘shadowed’ specific senior actors, some comic female roles 

>may have been written for boys apprenticed specifically to clowns.

>

>Maria’s absence during the uncovering of the gulling of Malvolio could 

>be because the boy’s mentor has been taken off stage at V.1.192 and 

>couldn’t be there to shepherd him.

 

A few points:

 

1. Yes, the female roles were almost certainly played by boys apprenticed to the senior players. See Juliet Dusinberre’s classic paper “Boys Becoming Women in Shakespeare’s Plays”. That is the whole point of the relationship between Antony and Cleopatra: Richard Burbage is upstaged by his own apprentice!

 

2. Yes, inexperienced boys needed mentoring - and that is probably what is behind Touchstone’s “Bear your body more seemly, Audrey” in AYLI (5.4.68-9)—for this see Juliet Dusinberre’s masterly (mistressly?) Arden3 edition. (I wish she had edited TN for Arden rather than Keir Elam - I find his fixation with castration tiresome.)

 

3. There is a world of difference between Audrey and Maria—the latter is a major role (149 lines rather than 20)—and in any case, Maria does not spend most of her time onstage with Sir Toby.

 

4. Sir Toby is not a clown’s role (Feste is the clown in TN)—and I think it was played by Shakespeare himself.

 

John Briggs

 

The Curtain Theatre Unearthed

 

The Shakespeare Conference: SHK 23.0243  Thursday, 14 June 2012

 

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

Date:         June 13, 2012 8:15:41 PM EDT

Subject:     Re: SHAKSPER: The Curtain

 

Hardy M. Cook quoted Maev Kennedy, writing in The Guardian (and presumably following an overheated press release):

 

>Well preserved remains of Shakespeare’s original “wooden O” stage, the 

>Curtain theatre where Henry V and Romeo and Juliet were first performed,

>have been discovered in a yard in east London

 

Henry V was, indeed, probably first performed at The Curtain, but R&J was first performed at The Theatre.

 

John Briggs

 

Hamlet Production?

 

The Shakespeare Conference: SHK 23.0242  Thursday, 14 June 2012

 

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

Date:         June 14, 2012 7:37:26 AM EDT

Subject:     Hamlet Production? 

 

I am trying to find more information on 1954 theatre production of Hamlet in Leningrad by Kozintsev . . . Especially stills and music (apart from the Gugue and Finale recorded by Sir Mark Elder) . . . Any help is welcome!

 

Best

Michelle Assay

Musicologist Université de Paris Sorbonne 

 

Yale Repertory Theatre to Mount Hamlet in 2013

 

The Shakespeare Conference: SHK 23.0241  Wednesday, 13 June 2012

 

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

     Date:         June 12, 2012 10:33:50 AM EDT

     Subject:     Re: SHAKSPER: Yale Hamlet 

 

[2] From:        Hannibal Hamlin <This email address is being protected from spambots. You need JavaScript enabled to view it.>

     Date:         June 12, 2012 1:08:52 PM EDT

     Subject:     Re: SHAKSPER: Yale Hamlet 

 

[3] From:        Charles Weinstein <This email address is being protected from spambots. You need JavaScript enabled to view it.>

     Date:         June 12, 2012 2:30:35 PM EDT

     Subject:     RE: SHAKSPER: Yale Hamlet 

 

[4] From:        Brian Willis <This email address is being protected from spambots. You need JavaScript enabled to view it.>

     Date:         June 12, 2012 7:50:25 PM EDT

     Subject:     Re: SHAKSPER: Yale Hamlet

 

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

     Date:         Wednesday, June 13, 2012

     Subject:     Yale Hamlet 

 

 

[1]-----------------------------------------------------------------

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

Date:         June 12, 2012 10:33:50 AM EDT

Subject:     Re: SHAKSPER: Yale Hamlet

 

I’m very much looking forward to Giamatti as Hamlet. He will (for one thing) provide support for that famous reading “Oh that this too, too solid flesh would melt”—and any strange Hamlet is illuminating. (I saw Diane Venora in a Joseph Papp production many years ago—I wept.)

 

John Crowley

 

[2]-------------------------------------------------------------

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

Date:         June 12, 2012 1:08:52 PM EDT

Subject:     Re: SHAKSPER: Yale Hamlet

 

Paul Giamatti may be a little lumpy-dumpy, but so is Simon Russell Beale, who was apparently brilliant in the role. As for the baldness, Richard Burbage, the first Hamlet, seems to have quite a receding hairline in the Dulwich portrait, though I don’t know how old he was when painted. He would have been 33 when Hamlet premiered, but people aged differently back then. (Remember the Sonnets, “When forty winters have besieged thy brows”). Ian Charleson was apparently a superb Hamlet at 40. Olivier was 41 when he played Hamlet in his own film (though I confess I dislike it). Gielgud played the role at 44. Hamlet’s own age is notoriously hard to pin down: he’s a student at Wittenberg, but the gravedigger says he’s 30. He seems to age 10 or more years over the course of the play. Giamatti is a brilliant actor, which is surely the main thing. I’m sure his Hamlet will be worth seeing, and I hope I can get to New Haven when it’s up.

 

Hannibal

 

[3]-------------------------------------------------------------

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

Date:         June 12, 2012 2:30:35 PM EDT

Subject:     RE: SHAKSPER: Yale Hamlet

 

I thought there could never be a worse Hamlet than Simon Russell Beale, but Giamatti may yet prove me wrong. He’s a schlub, which Hamlet is not. (Neither, for that matter, was John Adams, which is why Giamatti was bad in that role as well).

 

--Charles Weinstein

 

[4]-------------------------------------------------------------

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

Date:         June 12, 2012 7:50:25 PM EDT

Subject:     Re: SHAKSPER: Yale Hamlet

 

“Call me old-fashioned, but if I were casting Hamlet I would try to find a skillful young fellow with leading-man looks and some star quality to do that heavy lifting. Paul Giamatti has neither and he’s forty-five. Indeed, his balding lumpy-dumpy look is plainly part of why he’s cast in the movie roles he gets. He has trunks full of awards, so it doesn’t matter that I usually don’t much care to watch him, but unless you can tell me he has a way with Shakespeare’s verse unmatched in the English-speaking world, I’m not really interested in seeing him play Hamlet anywhere.”

 

Has it come to this? Do we really require our actors to have “leading-man” looks, whatever that is supposed to mean? I thought being an actor - let me clarify, being a GREAT actor—is so much more than this. By this criteria, John Gielgud had no business playing Hamlet.

 

Let me add my own generalization: I usually find that actors with “leading-man looks” can’t handle the text because they rely on their looks, while actors like Giamatti, Phillip Seymour Hoffman, Simon Russell Beale all invest a great amount of time, intellect, and emotional capital into their roles and know the scripts backwards and forwards. Give me the latter every time.

 

Brian Willis

 

[5]-------------------------------------------------------------

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

Date:         Wednesday, June 13, 2012

Subject:     Yale Hamlet

 

As soon as this thread began, I was reminded of the discussion years back of the Simon Russell Beale's Hamlet. I am not disappointed.

 

I am also interested in how the “real” Hamlets (i.e., fixed and stable) are known, except through performance.

 

Hardy

 

Stratford-upon-Avon Lodgings

 

The Shakespeare Conference: SHK 23.0240  Wednesday, 13 June 2012

 

[1] From:        Sheri Karmiol <This email address is being protected from spambots. You need JavaScript enabled to view it.>

     Date:         June 12, 2012 12:03:10 PM EDT

     Subject:     Re: SHAKSPER: Stratford Lodgings 

 

[2] From:        Evelyn Gajowski <This email address is being protected from spambots. You need JavaScript enabled to view it.>

     Date:         June 12, 2012 1:41:00 PM EDT

     Subject:     RE: SHAKSPER: Stratford Lodgings 

 

 

[1]-----------------------------------------------------------------

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

Date:         June 12, 2012 12:03:10 PM EDT

Subject:     Re: SHAKSPER: Stratford Lodgings

 

We stayed at the Curtain Call. It was a bit of a walk to the theaters, but it was quite a pleasant walk in the evening. The room was very clean and the hosts offered to pick us up at the station (we chose to walk) and at the theatre (again we chose to walk).  They did drive us to the rail station when we left. 

 

The Curtain Call is closer to the rail station than to the theaters and village center, but that also meant it was less expensive. They do have a website, and I found that the photos on their website were more honest and less photoshopped than many of the other B & B’s where we stated in England and Scotland last summer.

 

Best, 

Sheri

 

[2]-------------------------------------------------------------

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

Date:         June 12, 2012 1:41:00 PM EDT

Subject:     RE: SHAKSPER: Stratford Lodgings

 

For Don Weingust –

 

Generally, B&Bs are more economical than hotels but do not have conveniences such as elevators. I love Broadlands Guest House—a short walk from the Shakespeare Institute, comfortable beds, wonderful hospitality, hearty breakfasts.  The only problem is that it had advertised Internet access in the past, but that meant dial-up, not Wi-Fi, and my laptop could not connect to it.  So I had to rely on the Internet access offered by the Institute.  Also, if you don’t request an en-suite room, you might get stuck on the top floor with a bathroom across the hall.

 

Evelyn Gajowski

University of Nevada, Las Vegas

USA

 

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