June

Nebraska Shakespeare Festival

Shakespeare Electronic Conference, Vol. 2, No. 168. Monday, 17 Jun 1991.
 
Date: 		Sun, 16 Jun 1991 23:55:00 -0400
From: 		Judy Boss <ENG003@UNOMA1>
Subject:  	News of Nebraska Shakespeare Festival
 
I've excerpted the following article from the Entertainment section of
the Sunday edition of the *Omaha World Herald* for those who may find it
of interest.
 
					Judy Boss
					University of Nebraska at Omaha
					eng003@unoma1
					This email address is being protected from spambots. You need JavaScript enabled to view it.
 
From the *Omaha World Herald*, 16 June 1991, by Jim Delmont
 
SHAKESPEARE FESTIVAL CELEBRATES ITS FIFTH YEAR
 
     For the fifth year, the stylish, dramatic language of Elizabethan
England will ring out in the night air at Omaha's Elmwood Park as the
actors of Shakespeare on the Green strut and fret their hours onstage.
 
     The Shakespeare plays in the park--officially known as the Nebraska
Shakespeare Festival--are an annual attraction and this year's offerings,
as in the past, contrast a tragedy with lighter fare.
 
     The whimsical comedy, "As You Like It," with its fairy-tale air,
sylvan location, mystery and magic, opens Thursday night.  The dark,
psychological tale of deceit and murder, "Othello," opens a week later,
June 27.
 
     New York actor Casey Kizziah . . . returns for his fourth year,
this time as director of "Othello" and as Jacques in "As You Like It."
 
     He is delighted to be back.
 
     "For an actor to be able to play these roles is a continuing
treat.  It is quite a thrill to stand in front of 2,000 people, in a
Shakespearean play, and they are LISTENING," he said.  "We really get
the kind of public Shakespeare himself might have had at the Globe
Theater--all different kinds of people, some of them picnicking.
Children and dogs about."  . . .
 
     "We do it [*Othello*] straightforward," Kizziah said.  "In my
view, 'Othello' doesn't stand too much examination.  Iago represents
our darker side and when we succumb to this darker side, the world
becomes a worse place, the universe is askew.
 
     "We have a traditional set by Steve Wheeldon, a Italianate version
of the Elizabethan period, with pillared arches, a grand staircase and
costumes that are traditional, but in vibrant colors."
 
     The artistic directors of Shakespeare on the Green are Ms. [Cindy]
Phaneuf and Alan Klem of the Creighton University department of fine
arts.  The administrative director is Michael Markey, also of Creighton's
department of fine arts.
 
     All three are proud of the success of Shakespeare on the Green.
 
     "We are really happy with the support we've had," said Ms. Phaneuf.
"Over 27,000 people attended in our second year (1988)--a figure it has
taken other outdoor Shakespeare groups 10 years to achieve.  But community
and corporate support have been a key to our success." . . .
 
      Performances are preceded by an hour-long Greenshow of Elizabethan
entertainment, including juggling, music, dancing, and acrobatics
beginning at 7:30 pm.

The Death of Dame Peggy Ashcroft

Shakespeare Electronic Conference, Vol. 2, No. 167. Monday, 17 Jun 1991.
 
Date: 		Mon, 17 Jun 1991 14:40:08 -0400
From: 		Stephen Miller <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Subject:  	The Death of Dame Peggy Ashcroft
 
The Death of Peggy Ashcroft:
 
     Dame Peggy Ashcroft, one of the most admired English Shakespearian
actresses in this century died on 14 June 1991 at the age of 83 after a
stroke at the end of May from which she never regained consciousness.
Newspapers in London have been filled with tributes.  She acted with all
the well-known names of the British stage and was Juliet to Olivier's Romeo.
The critic Michael Billington has called her Beatrice "definitive".
Her Benedick was John Gielgud.
 
     The television stations have been teasing viewers with tiny clips from
a television recording of her role of Margaret in *The Wars of the Roses*
(adapted from the first tetralogy of history plays in 1963) which virtually
every writer mentions as one of her greatest interpretations.
 
     She was a well known campaigner for worthy causes.  When playing
Desdemona to Paul Robeson's Othello she received hate mail for appearing
onstage with a black man and she apparently witnessed first-hand the
persecution of Jews in Nazi Germany.  Among her causes, as many readers of
SHAKSPER will know, was the Rose Theatre museum.  She formed part of the
human block that prevented bulldozers from obliterating the remains in May
1989.
 
     She was part of virtually all the endeavours to found a permanent
British classical acting company and was present from the first at the
foundation of the Royal Shakespeare Company in 1960.  Peggy Ashcroft spoke
the first words from the new National Theatre in 1976.  In later years she
became well known for parts in films and on television.
 
     Her last Shakespearian role in the early '80s was as the Countess in
*All's Well That Ends Well*.  It was her only Shakespearian role I saw live,
though I managed with a friend to see it five times.  We last saw her in the
audience at Trevor Nunn's very fine production of *Timon* in the Young Vic
theatre on 6 April of this year.
 
     She will be missed very much.
     						Stephen Miller,
                                   		King's College London

Query: The Actors' Perspective?

Shakespeare Electronic Conference, Vol. 2, No. 165. Thursday, 13 Jun 1991.
 
From: 		Ken Steele <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Subject: 	The Actors' Perspective
Date: 		Thu, 13 Jun 91 15:34:17 EDT
 
Dear Fellow SHAKSPEReans;
 
Among my favourite events at Shakespeare conferences are the
discussions or performances given by professional actors and actresses,
shedding light on their preparation for, interpretation of, and unique
perspective on plays by Shakespeare.  Fortunately, it would seem that
this is becoming a regular feature of the second nights at Shakespeare
Association of America gatherings: Tony Church and Vivien Heilbron
were wonderful in Philadelphia (1990), as were Fiona Shaw and Juliet
Stephenson in Vancouver (1991).  As a student of Shakespeare with
little theatrical experience (I remember playing Tweedle-Dee in grade
school, but that's about it...) I find the actors' perspectives
enlightening and fascinating.
 
I've just finished reading Philip Brockbank's 1985 collection,
*Players of Shakespeare: Essays in Shakespearean Performance by Twelve
PLayers with the Royal Shakespeare Company*, and as the title
suggests, it's a wonderful opportunity to get more of the same (only
different).  Its 1988 sequel, edited by Russell Jackson and Robert
Smallwood, is also proving rewarding.  And although satis quid
sufficit, as the illustrious Holofernes would have us know, I can
never have quite enough of a good thing and am seeking more sources of
theatrical insight into the acting, directing, and rehearsal of
playtexts, Shakespearean and otherwise.
 
Yesterday I spotted another possibility in Toronto's "World's Biggest
Bookstore": Susan Willis' *The BBC Shakespeare Plays: Making the
Televised Canon*.  This is a very recent book, but has anyone seen it
yet?  How does it compare to the other two books mentioned above?  And
more importantly, are there other sources people would recommend?
Basically, I'm trying to get backstage vicariously, to better
understand the nature of stagecraft, rehearsal, and performance.
Any guidance would be much appreciated.
 
						Yours,
 
						Ken

Query: Recent Census of First Folios?

Shakespeare Electronic Conference, Vol. 2, No. 166. Friday, 14 Jun 1991.
 
Subject: 	First Folio ownership, locations, conditions, etc.
From: 		Zip Kellogg <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: 		Thu, 13 Jun 1991 17:14:37 -0400
 
   Could someone recommend a source where one looks to find basic
information about extant copies of the First Folio? Is there a book,
a database, etc. where all known copies, their ownership, what's
known about their ownership history, their locations and condition,
etc. can all be found?
 
   I understand Sidney Lee's "Census," done earlier this century
was something like this.
 
   Thank you for any recommendations.
 
   					Zip Kellogg, U. of Southern Me.

*TC*, Genre, Satire; Norton Facsimiles

Shakespeare Electronic Conference, Vol. 2, No. 164. Thursday, 13 Jun 1991.
 
(1)	Date: 	Tue, 11 Jun 1991 12:39:00 -0400
	From: 	John Dorenkamp <This email address is being protected from spambots. You need JavaScript enabled to view it.>
	Subj: 	Norton Facsimile
 
(2)	Date:   Wed, 12 Jun 1991 13:24:31 EDT
	From: 	Jay Funston <This email address is being protected from spambots. You need JavaScript enabled to view it.>
	Subj: 	RE: SHK 2.0162  *TC*, Satire, [Norton Facsimile]
 
(1) --------------------------------------------------------------------
	
Date: 		Tue, 11 Jun 1991 12:39:00 -0400
From: 		John Dorenkamp <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Subject: 	Norton Facsimile
 
I have certainly found the Hinman (Norton) facsimile most useful.
But my purpose here is not to sing its praises but to yearn nostalgically
for the good old days.
 
In 1968, when the volume was published, I received a copy of it free
and unasked for.  (Those were the days when Norton sent everybody almost
everything.  Giving away books was cheaper than hiring sales reps.)
The price on the dust jacket flap is $15.00.
 
					John Dorenkamp
					Holy Cross College
 
(2) --------------------------------------------------------------------
 
Date:    	Wed, 12 Jun 1991 13:24:31 EDT
From: 		Jay Funston <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Subject: 2.0162  *TC*, Satire, [Norton Facsimile]
Comment: 	RE: SHK 2.0162  *TC*, Satire, [Norton Facsimile]
 
Polonius' idea about dramatic genre is even worse than the one I had
many years ago.  I wanted to call *T&C*, along with a list of other
plays Renaissance and modern, something to suggest sickness, and
coined "pathedy" to do the job.  Irving Ribner, may he rest in peace,
wisely suggested that I try something with a potential terminus instead.
I knocked out a harmless dissertation and got the degree, though I never
followed the rest of his advice to make the quite unnecessary new genre
into a book.  I think I did incorporate a play of Aristophanes and
*The Revenger's Tragedy* into the list.  Another gentleman did later
produce an article using (misspelling) the term as "pathody," hardly
analogous with "comedy" and "tragedy."  In a way, I'm happy to see
the problem still unsettled.
 
On another tack, I'm pleased that I accepted Norton's offer of the
Hinman Folio facsimile at the initial educators' offering price of
$15.00.
					Jay Funston

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