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Shakespeare’s Globe Pops Up Downunder

The Shakespeare Conference: SHK 26.203  Friday, 24 April 2015

 

From:        Team Pop-up Globe < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         April 23, 2015 at 2:37:56 AM EDT

Subject:    Shakespeare’s Globe Pops Up Downunder

 

Here’s a fun story for Shakespeare’s birthday today - and the 399th Anniversary of his death. We’d be really grateful if you could find space to put this up, and help us to build the Pop-up Globe in time for next year’s 400th Anniversary.


Please feel free to contact us or Tobias Grant - This e-mail address is being protected from spambots. You need JavaScript enabled to view it if you want any more info or to do any interview via Skype etc.

You can see some coverage here:

 

http://www.nzherald.co.nz/entertainment/news/video.cfm?c_id=1503078&gal_cid=1503078&gallery_id=149551

 

The release is below, and loads more stuff at www.popupglobe.com  

 

High res stuff - images, video, press release - is at our media centre: http://bit.ly/1GkmFeR


Best wishes,

The Pop-up Globe Team


Media release - 23 April 2015.

For immediate release.

 

Shakespeare’s Globe Pops Up Downunder

World-first full-scale Pop-up Globe Theatre to rise 

in New Zealand for 400th anniversary of Shakespeare’s death

 

In exactly a year’s time the quatercentenary of William Shakespeare’s death will be marked with a performance of Shakespeare’s Twelfth Night in stunning Elizabethan costumes, staged in the world’s first Pop-up Globe - a full-scale temporary replica of Shakespeare’s second Globe Theatre - in Auckland, New Zealand. 

 

Pop-up Globe is the brainchild of New Zealand-born UK-trained Doctor of Shakespeare Miles Gregory. 

 

“Seeing Shakespeare’s plays performed in the environment they were written for is a completely unique experience – as much a party as a performance” say Dr Gregory, who has twenty years international experience producing and directing theatre, including for Shakespeare’s Globe, London. 

 

Pop-up Globe will be a full-size temporary working replica of Shakespeare’s second Globe Theatre, made to its exact dimensions, designed using the world’s leading research, and big enough for a thousand people.

 

“This has never been done before”, Gregory adds.

 

Pop-up Globe will be built by Camelspace, local experts in constructing extraordinary temporary structures, present three months of theatre, celebrate Shakespeare’s life and work with a gala event on 23 April 2016, then tour the world.

 

“This is for more than Shakespeare lovers,” says Gregory, “It’s a thrilling live experience that puts the audience at the heart of the action. And with tickets starting from just $10, we can’t wait for opening night.”

 

The project has met with enthusiasm from Shakespeare's Globe London. "What a great idea” says Dominic Dromgoole, Artistic Director of Shakespeare’s Globe. “Touring Shakespeare has been a tradition since the plays were first written 400 years ago. We are delighted that the Globe building itself is now traversing the planet".

 

Tim Fitzpatrick, Associate Professor at Sydney University, on whose ground-breaking research the design has been based, says “Our research answers important questions around the shape and size of Shakespeare’s Globe, and challenges some of the fundamental assumptions made in the past about this fascinating theatre. People are going to be coming from the Northern Hemisphere to see this”. 

 

“It’s a game changer” says Nick Brown, facilitator of Dramanet, a global forum of 695 drama teachers, and Pop-up Globe Education & Outreach Consultant.

 

“We’re expecting to see literally thousands of teachers and students participate in Pop-up Globe. It will radically alter the way Shakespeare is taught and understood in New Zealand for years to come”.

 

Pop-up Globe has launched an international Kickstarter campaign for funding the first-phase construction of the theatre.  A multi-channel approach will then see final construction and operation funded through a combination of box office ticket sales, sponsorship, and state grants.

 

Dr Gregory says “We’ve been overwhelmed by the support we’ve already received from individuals and businesses both locally and internationally.”

 

“Now we’re looking for sponsors, arts donors, and proud New Zealanders to join us and help make this project the best it can be”.

 

 

MEDIA CENTRE: For press release, high-res images and video, visit: http://bit.ly/1GkmFeR

 

Website: http://www.popupglobe.com

Kickstarter: http://bit.ly/popupglobe

Facebook: https://www.facebook.com/PopupGlobe

Twitter: @popupglobe

 

For further information contact: 

Tobias Grant 

E: This e-mail address is being protected from spambots. You need JavaScript enabled to view it

T: +64 21 607 277

 

About Shakespeare’s Second Globe Theatre

 

The first Globe theatre was built in 1599 and stood for only 14 years. It burned down during a performance of Shakespeare's Henry VIII, when a piece of wadding fired from a cannon set the thatched roof alight. Incredibly, all three thousand audience members apparently escaped without injury, except for one man whose flaming trousers were doused by a bottle of ale.

 

The second Globe was immediately built on the same foundations at the then vast cost of  £1,400. It thrived for almost 30 years, from 1614-1642, when the outbreak of the English Civil war forced its closure and eventual demolition some years later.

 

The design of the Pop-up Globe is rigorously based on the groundbreaking historical research undertaken by Professor Tim Fitzpatrick and Russell Emerson of Sydney University Department of Performance Studies over a five year period. 

 

This  has resulted in a new reconstruction of the probable shape and size of the second Globe Theatre that is quite different in size and shape from Shakespeare’s Globe completed in 1997 on Bankside, London.

 

Fitzpatricks research indicates that the standing space in the yard should be nearly 50% smaller than the London Globe, and the stage should have only two doors. The dimensions of the building itself are some 10% smaller than the London Globe. 

 

About Dr Miles Gregory 

 

“At long last, a director that does Shakespeare – and indeed theatre - the way it should be done” The Stage, UK  

 

“Fizzing with talent”, The Independent, UK

 

Aged twenty Miles Gregory experienced a Shakespeare performance at Shakespeare’s Globe, London for the first time. The experience changed his life. He realized his destiny would be to bring the magic of Shakespeare alive so that others can enjoy the same incredible experience that for him was so profound. 

 

Dr Gregory holds a PhD in Shakespearean performance from the University of Bristol and a Master of Fine Art in Staging Shakespeare from the University of Exeter. He is an acclaimed international director and producer of Shakespeare. Miles grew up in Auckland, New Zealand, and has returned to bring to life his dream: Pop-up Globe.

 

The idea struck him when he was reading a book about theatres with his youngest daughter. “The Globe Theatre literally popped up,” he recalls, “and my daughter asked me if we could go there. I thought long and hard, and this is the result.” 

 
 
Hiatus+

The Shakespeare Conference: SHK 26.202  Friday, 24 April 2015

 

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

Date:         Friday, April 24, 2015

Subject:    Hiatus+

 

Dear SHAKSPER Subscribers,

 

Next web Ron Severdia will be redoing the SHAKSPER web site for smoother operations, a newer look, and better e-mail functions. So there will be no further Newsletters until installation and migration are completed. It should take about a week to complete. MY  This e-mail address is being protected from spambots. You need JavaScript enabled to view it  address should still be working so you may keep sending in submissions.

 

In a few hours, I leave with my older daughter Melissa and son-in-law Bill for the weekend to see my younger daughter Rebecca in her final college performance (graduation May 16th) as Richard Burbage in Bill Cain’s Equivocation.

 

The Bryn Mawr College Shakespeare Performance Troupe is one of the oldest and most popular organizations at Bryn Mawr College. All in the area are invited.

 

A notice about the production is below:

 

Come see Bryn Mawr College Shakespeare Performance Troupe’s second spring production: Equivocation, by Bill Cain. Complete with a lot of Shakespeare-inspired humor, political thrilling-ness, the gunpowder plot of 1605, a Scottish king, a priest, WITCHES, sarcasm, actors playing actors playing characters and MORE! 

 

Friday, April 24th at 7:30 PM

Saturday, April 25th at 7:30 PM

All in Rhoads Dining Hall

Doors for each production open 30 minutes before curtain (7:00 Friday and Saturday)

 

Content Warning: this show features simulated hangings, a beheading, discussion of and some simulation of torture (a la 1605), and strong use of language

 

Questions? Contact Lindsey Foster at lcfoster.brynmawr.edu or Lyntana Brougham at  This e-mail address is being protected from spambots. You need JavaScript enabled to view it .

 
 
Review of Julius Caesar at A Noise Within

The Shakespeare Conference: SHK 26.201  Wednesday, 22 April 2015

 

From:        Jay Quantrill < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         April 20, 2015 at 11:26:12 PM EDT

Subject:    Review of Julius Caesar at A Noise Within

 

Shakespeare in Performance

the production, Julius Caesar

the company, A Noise Within.

 

by Jay Alan Quantrill

 

Assuming no need to provide a synopsis of the play to the readership of SHAKSPER, let me begin by heartily recommending the current fully-charged production of the play now in rep (through May 24, 2015) at A Noise Within, the metropolitan Los Angeles-based (Pasadena area) classical theater company. Rarely has this organization – devoted entirely to the classics, however one may define the term - produced as engaging an evening of theater. For those not familiar with A Noise Within, they present a repertory schedule of three plays in each of two halves of their six-play Sept-May season, generally one Shakespeare in each segment. Not too long ago they built and moved into the comfortable intimacy of a well-equipped and generously apportioned 283-seat thrust stage theater. Among their many shows, I have seen a somewhat tedious Cymbeline, an overly rambunctious Taming of the Shrew (set in a farcical Italian 20th Century Padua as if populated by Sicilian mobsters), and a gripping Hamlet in which the ghost of his remembered father was presented as Hamlet’s own reflection, in mirrors and windows – a conceit that didn’t work, but didn’t mar the emotionally-charged production. 

 

After attending their current offering of Julius Caesar, I find myself most intrigued by two issues: (1) how well does the company serve the play, and (2) how well can the circa 1599 script, in the hands of a professional company, serve a 21st Century audience. The answer to both questions, is an exemplary ‘Bravo! Very Well Indeed!’ While it may be a somewhat uneven production, with great highs and a catalogue of thankfully minor if numerous lows, the overall energy and clarity of the effort admirably and enjoyably brings immediacy to the action and a deep understanding of the major characters’ intentions. So much so that, at the performance I attended, most of the audience was swept into Shakespeare’s tale and held in its thrall as much by the performances as by its uncannily contemporary tone established by co directors Geof Elliott and Julia Rodrigez-Elliott (Co-Artistic Directors of the company).

 

The hallmarks of this production being energy, drive, and passionate treachery, it opens with such a detailed and engrossing portrayal of Cassius by England-trained actor Freddy Douglas, that the plot, its raison d’etre, and the noble villain needed to put it in motion, grabs our attention and quickly prepares us for Shakespeare‘s engrossing political journey. Indeed, this character so dominates the first scenes as to make one think this should be Cassius’ tragedy, especially in contrast to a surprisingly uninvolved (except in the tent scene) Brutus.  Playing the role, Robertson Dean brings to Brutus the physical and vocal stature needed to embody the noblest Roman of them all, but not the inner conflict of a man being goaded into committing the bloody treachery already bubbling in his heart. Dean seems to be so comfortable with the lines that his much vaunted nobility and honor are but pale tints in a performance at once too facile and overly familiar for an aristocrat carrying the weight of Rome’s ancient honor on his patrician shoulders. Caesar, in the hands of Patrick O’Connell, also has the stature for his character, but alas not the power, the internal power that is the sine qua non of a commanding general of such popularity and repute as to rule over a proud nation and to threaten it’s existence at the same time (in spite of and hiding a physical weakness). 

 

And then there is Marc Antony, here played at times with brilliance, at times with mere intelligence, by Rafael Goldstein. Looking back over the production, it seems that Goldstein’s Antony could be mistaken for a one-trick pony – ah, but what a clever and passionate animal! His entrance into the bloody scene of Caesar’s death is emotionally moving in its simplicity and conviction. Unfortunately, in what appears to be a directorial choice throughout the play (to make personal asides into public declarations), Antony’s private moment of revenge-promised, spoken over the still bleeding body of his beloved leader, becomes a flailing speech that could not fail but to alert Brutus that Cassius has been correct all along – Antony is a threat and must needs be eliminated.  But thankfully for us, he isn’t.  For Antony’s funeral oration is line by line, so well considered, so cleanly spoken, so immediately discovered in the moment, that this “Friends, Romans, Countrymen,” is a play in itself, performed with the ups and downs of a telescoping Genie lift and almost worth the price of admission on its own. Would that the directors had given Antony more prominence on the stage, carefully building a stronger more forceful relationship with Caesar.  Even without Shakespeare providing additional dialogue, how much more we would have felt the conflict, for what a quartet of clashing characters – Cassius, Brutus, Caesar, Antony – Shakespeare has bequeathed us.

 

With the exception of one (and she unintended), the women of the play fair less well, though Jill Hill’s Portia rises out of her wheel chair and into our consciousness with sufficient vulnerability as to provide Brutus with a credible love interest. Alison Elliott’s Calpurnia is allowed no more presence than as a young “bit of stuff” one would expect to see on the arm of a power-hungry dictator rather the omen-awed advisor and trusted power-behind-the-throne helpmate of a great man. The one exception – at least in this reading, is performed by Deborah Strang, an actress who is never less than engaging. For this production, Ms. Strang is non-traditionally cast as Casca, and surprisingly effective she is in this role written for the male of the species. Her realization of Casca is an itchingly alive portrayal of a worry wart conspirator born to plague bolder men with incessant reconsideration of whatever game they have set afoot.

 

Octavius, Flavius, Cicero, Lepidus, Murellus, Decius – they all do their bits, but are never given the opportunity to stand out, though the actors playing Octavius (Joe Sofranko) and Decius (Eric Curtis Johnson, who also reads Flavius and Lepidus) make memorable impressions. Cinna, the poet, however, takes center stage in his here-strangely-directed scene for which Shakespeare seems to be dramatizing the effects of Antony’s oration on the mob. But it is separated from the oration by an act break, opening the second half of the evening on it own, it comes off as a ‘what was that all about!’ intrusion, however visually arresting the mob action is staged.

 

And visually arresting this production often is. Played in Brechtian mode, on a bare stage with wheeled scaffolds variously draped with tent flaps, or curtains, or construction site plastic, the directors and designers have achieved with settings (Frederica Nascimento) and costumes (Angela Balogh Calin) a look at once historical and contemporary – further enhancing the accessibility of the script to a 21st century audience: a blood-spawn backdrop here, a graffiti-pocked canvas or mirrored wall, all moving with speed and assurance to refresh the eye and suggest the mood. That the frequent if rapid movement of the sets, accompanied by overly loud musical interludes (Robert Oriol) does, sadly, break the on-going thrust of the action, as if commercials for the design crew were required, the scene-change intervals do at least sustain the energy of the production.

 

Everyone wears a full ankle-length robe, billowing with every turn, of dark and consistently somber hues over varying vests, blouses, and bits of clothing, some characters with skull caps, others with top hats, some smoking cigarettes or cigars, but all moving with sweeping panache. Everyone, that is, except Portia, frail in her pastel apparel that bespeaks her sickly neediness. The lighting (Ken Booth) is less precise than I think would have better served the play, whether a designer or director choice who knows, but it is appreciably more than attentive.

 

This Julius Caesar is decidedly not a museum piece, but a vivid two-hour reverberation of power politics eternal, and quibbles aside, a refreshing reminder of Shakespeare’s love of effective over orderly drama. 

 
 
Criticism of Erne

The Shakespeare Conference: SHK 26.200  Monday, 20 April 2015

 

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

Date:         April 17, 2015 at 7:28:13 AM EDT

Subject:    Re: SHAKSPER: Erne

 

Tom Reedy wrote:

 

>John, what’s your take on the good quartos, particularly Q2 of 

>Hamlet, ”Newly imprinted and enlarged to almost as much | 

>againe as it was, according to the true and perfect | Coppie” 

>that followed closely on the heels of Q1?

 

My ‘take’ is exactly the same as everyone else’s: that there’s not a

shred of evidence that Shakespeare had anything at all to do with their publication. (There is scope for debate as to whether that blurb was written by the publisher Nicholas Ling or the printer James Roberts.)

 

John Briggs

 
 
Signet Shakespeare

The Shakespeare Conference: SHK 26.199  Monday, 20 April 2015

 

From:        R. A. Cantrell < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         April 20, 2015 at 10:38:07 AM EDT

Subject:    Signet Shakespeare

 

I have a semi-complete collection of the original Signet Classic Shakespeare paperbacks, general editor Sylvan Barnet. If anyone would like them, I would be glad to send them for the cost of postage.

 

All the best,

R.A. Cantrell

 
 
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