made a uquiz

here it is! it’s romeo and juliet themed lol

King Hamlet: Brief let me be

Me: come on man

the most insane double casting i’ve heard of is ophelia and horatio being played by the same actress. the implications of that drive me crazy

you guys are doing things in the tags of this post

#to this day my favorite performance of hamlet i’ve seen is one where there were two hamlets#one was the dutiful son and the other was his vengeful id#and they split all the lines in the play depending on which hamlet was speaking#all the soliloquies became arguments between the two and it was SO good#the second hamlet doesn’t appear until hamlet’s father appears and tells him Claudius is to blame for his death#he opens to curtains and his first line is ‘Murder?’#and the other characters can’t see that second hamlet at first - just the initial one#until slowly throughout the play the second hamlet is the one they look at and interact with#until finally the first hamlet - the dutiful prince - is the one who’s ignored#anyway it was metal as fuck holy shit#i wish i could watch it again but i have no idea if it was recorded (via rythyme)

Some favourite staging moments in productions of Shakespeare plays:

shakespeare characters having weird reactions to deaths: macbeth / hamlet / julius caesar

sorry to be pedantic outside of the tags but i love these as exhibits a b and c of why the “shakespeare is meant to be performed” cliche is real; on the page they look wild but actors know how to read the embedded stage directions

two of these examples can’t be shared lines of iambic pentameter (both gertrude’s line and brutus’ are already rushed and irregular at eleven syllables, so laertes and cassius both get their full ten beats for two or three words) and one of them doesn’t have to be (macduff and malcolm’s lines add up to ten beats indicating that it’s shared but no one will call the scansion cops on you if you split it into two and divvy up the extra ten syllables between them, which imo is the more playable option)

remember that verse is symphonic and that those extra syllables are notes in the orchestration of the scene— they have to go somewhere, either into beats of rest or sound. there’s a lot of ways to score any of these moments but one possibile notation for the first is

MACD: your royal father’s murdered.

(rest/ rest/ rest/ rest/ rest/)

MAL: oh.

(rest / rest / rest/ rest/ rest/) ...

by whom?

all that silence affords the director a moment to let a lightning-fast scene (the entire cast pouring onstage in ones and twos, yelling over each other at varying levels of authenticity) come to a screeching halt, and the severity of the situation set in. for the actor it’s playable as all hell, and ultimately very human: the kind of raw shock that makes you ask stupid questions. you get the same thing with laertes. tbh i’ve always found “drowned? (rest / rest /) oh. (rest / rest / rest / rest/ rest /) .....where?” to be utterly goddamn devastating in how realistic it is, bc what else can you say to that? if someone told you with no warning that your sister drowned, what else would come out of your mouth in the moment but something stupid and mundane? oh. ..........where did it happen?

the other notable similarity in these three moments is the use of un-words: two ‘o’s and a ‘ha’ (they aren’t meant to be pronounced exactly like “Oh” or “Ha”; traditionally shakespearean un-words are performed as unarticulated sounds, sighs, groans, exhalations etc). un-words leap out to the actor because it is a character rendered speechless. i made a post a few weeks ago about how big of a deal it is when people written by william shakespeare dont have words for what they’re experiencing/when the pain is so big that even in a metanarrative universe where you are only the words you speak you are forced to admit that something is unspeakable, and every “o” or “ha” or “ah” etc is a moment of this horror, this defeat at the hands of your own medium

it’s a rich moment for actors because in classical text it’s frowned upon to act “outside” of the line (to waste vocal qualities on things that aren’t words, ie to take a pause from speaking your richly layered monologue to let out a pained exhale. “act on the line” says your director, smacking you on the knuckles with a copy of freeing shakespeare’s voice), it’s diva-y and amateurish to take more syllables than you’re given. but when you’re given the space of ten beats for “ha portia”, who will dare call you a scene hog for stretching that “ha” into five notes of agonized, wordless noise?

in the same way that lear’s “howl howl howl” is very much not just the word ‘howl’ said three times these moments demand full, shattering vulnerability from the actor, a dive into the place in the body where pain lives. maybe laertes and malcolm really do say “oh.”, quiet and childlike, or maybe that ‘o’ is a stand-in for the all-air sound that shakes out of you when you get punched in the lungs and try to talk through it, or for that deep animal groan you heard that made you think what was that before you realized it was coming out of your own throat

anyway you get what i mean. you wouldn’t look at a blueprint and say you saw the house, you wouldn’t read the sheet music and say you heard the symphony, etc

i like to believe that ophelia’s madness gave her a kind of meta knowledge of the plot— that she saw the tragic ending coming, knew that hamlet’s indecision would be his hamartia, that she realised gertrude and claudius were both poisoned with corruption from the beginning and instead of the customary funeral goers laying flowers at a grave, it was Ophelia— mad, at death’s door, about to die in less than 2 scenes— who handed flowers to the king, queen and protagonist as if the dead girl was mourning the living

Hamlet, but Ophelia gets more aware of and interactive with the audience as it goes on. By her death scene she’s thanking stage hands and afterward her “ghost” climbs off the stage to sit in the audience with Hamlet’s dad

….well now I want it.

Ok but there’s a game with a very similar concept: Elsinore. You play as Ophelia stuck in a time loop and try to manipulate the events and avert the tragedies to escape the loop. Every time Ophelia dies, time resets but she remembers what she learned.

anyone who told you much ado about nothing is good and worth watching was RIGHT and you should listen to them

Ah here we go! Free full play for anyone who needs it, i watched it last week so i still had the link in my history heh :D enjoy!

God I love this version

catherine tate and david tennant performing genders (plural) in much ado about nothing (2011)

@everyone asking where to watch this, it’s on youtube! part 1, part 2

Concept:

The Scottish Play, but it’s set in a fast food restaurant and everyone’s killing each other over who gets to be the manager and its played completely straight

McBeth

so i just learned that this is already a thing that exists and christopher walken plays macduff, and i desperately need to watch this movie

Holy shit. I remember that one. The witches are portrayed by 3 garbagemen and instead of saying “when Birnham Wood to Dunsinane comes”, they say he’ll be defeated “when pigs fly”. This is fulfilled when a police helicopter lands on the roof.

H O L Y    S H I T

My favourite thing about this post is folks in the notes going “no, that’s wrong, it was Richard Armitage as Macduff, not Christopher Walken”, then slowly coming to the horrified realisation that there’s actually more than one early 2000s Shakespeare adaptation with this basic premise.

(The one with Walken is 2001′s Scotland, PA, while the one with Armitage is episode two of 2005′s ShakespeaRe-Told, for the curious.)

Y'all have unlocked something in my brain because I completely forgot I watched Scotland, PA in high school

I feel like I need to tell everyone how brilliantly the Globe incorporated a deaf Gildenstern into the 2018 Hamlet and then force all of you to watch it

ok, so Gildenstern is played by a deaf actor, Nadia Nadarajah. he* signs all his lines, and either Rosencratz interprets for him, or the person he’s talking to says something that makes it obvious what he just said, depending. how each character reacts to Gildenstern is completely in-character and often hilarious

it’s all brilliant and adds another layer of humor and pathos and you should all watch it

*casting at the Globe right now is gender neutral so I’m just going to use the character’s pronouns

guys I know I’m wittering on about this but the thing I want to emphasize is that there is no tokenism here. they didn’t just shove a deaf actor into a speaking role so they could pat themselves on the back about how progressive they are. they went to the effort of fully integrating Nadarajah’s deafness into the story so that it not only fit organically within the narrative but actually enhanced it. watching Hamlet’s signing disintegrate as his trust in R&G disintegrates adds a depth to that storyline I’ve never seen before. Claudius has exactly the awkwardness of someone who thinks of himself as a good person and therefore thinks he’s being kind and generous with his accommodations for disability, but has never even once actually asked a disabled person what they need, which is so on-point for his character it hurts.

I know Michelle Terry gets a lot of hate mail for her policy of race-, gender-, and disability-blind casting, but fuck all those people. long may that policy continue.

the glenda jackson production of king lear on broadway did something similar with the Duke of Cornwall, and it was actually the best part of the play, imo.  because when Cornwall was speaking to Lear or to the Court, he had a sign language interpreter to speak the actual literal words aloud, but when he was talking to and conspiring with Regan, his wife, they were just signing back and forth with no translation for the audience, and it emphasized the intimacy between the two even as they turn against literally everyone else in the play, which was fantastic.

and the best part of it was, by the second half of the play, you were so used to it, that you didn’t even blink anymore when watching him and listening to the spoken words come from the interpreter - you just watched the actor playing Cornwall and let the words come from the other guy, but the guy kind of fades into the background.  it didn’t hurt that the actor for Cornwall was one of the tallest on stage, and had bright red hair - it was easy to watch him, instead of his interpreter.

which is why it was so shocking and so perfect when the interpreter is the one who kills him.

See, they folded the character of the servant who kills Cornwall into the person of this character who had been such a non-entity that you almost forgot he was on stage - until you realize, no, this is another person, and he’s been here, watching all this the whole time, and he finally gets to the breaking point where he can’t stand by and translate anymore, he has to do something to stop the cruelty he’s seeing, and it’s not just a random guy who comes in for the scene and sees them blinding Gloucester, it’s the man whose been by his side for the entire play, the man who was his voice who finally has a line of his own.  who finally speaks on his own behalf to say “no.”

and then, of course, he gets killed, but Cornwall dies in the same scene so it’s not like they need to get a new translator or anything.  but it was the most fucking brilliant choice i’ve ever seen re: casting in a Shakespearean production, and the rest of the play pales in my memory in comparison.

Much Ado About Nothing - 2019 - Free Shakespeare in the Park

With Danielle Brooks as Beatrice and Grantham Coleman as Benedick

Directed by Kenny Leon

(watch here)

[source]

This is the best one I’ve seen yet.

A sheep in the role of Cordelia in “King Lear With Sheep.”Credit” Nick Morris.

Source: ‘King Lear With Sheep.’ Yes, Sheep.

“The production, which lasts under an hour, centers on a director character who decides to stage a production of ‘King Lear’ starring sheep. In the face of the animals’ indifference, he breaks down and begins to perform the tale himself.”

Malvolio’s Revolve

The joy of Shakespeare is that even if you see the same play dozens of times, each production is its own, unique experience.

Having said that… there are certain bits of stage business that often crop up in numerous productions. One of my favorites is Malvolio’s revolve.

Just for fun, here are various examples of Malvolio’s revolve that have been captured on film. (If the gifs don’t work, check out my original post here.)

Alec Guinness in the 1970 ITV Saturday Night Theatre production  does the classic dubious, self-conscious revolve, although Sir Toby and his gang are safely behind a hedge and don’t have to hide.

Nicholas Pennell in this 1986 filmed production at the Stratford Festival of Canada executes a confident and rarely-seen double revolve, forcing his peanut gallery to duck out of sight.

In this filmed version of the Renaissance Theatre Company’s 1988 production, Richard Briers executes a very slow , dubious revolve that is notable for being counter-clockwise. In my experience, most Malvolios revolve in a clockwise direction.

Finally, this Stratford Festival production milks the revolve for all it’s worth, with Tom Rooney’s Malvolio turning at just the right speed to miss Sir Andrew’s desperate dash across the stage.

Some productions choose to have Malvolio turn the letter around, rather than himself. Others either blow past the line without acknowledging its comedic gag potential, or cut it in its entirety. All are valid choices, but honestly… why look a gift gag in the mouth?

when oscar wilde said “there are as many hamlet’s as there are melancholies”…….god i felt that

like “each person interprets hamlet differently!!” does not cut it because hamlet is what you’re experiencing when you read it. there is a hamlet for your grief. there is a hamlet for your discomfort. there is a hamlet for when you feel unseen, unheard, disregarded. there is a hamlet for your betrayal. one for your longing. and none of them are the same for each person. none are the same for you.

you can suffer any pain you’ve felt through hamlet. and that is something

“I would eat his heart in the marketplace” is legit the most savage line I have ever heard, I’d like to personally thank Shakespeare for putting into words that feeling of rage and protectiveness women get when some fuckboy hurts another woman

Okay first off, I will always reblog this post, but secondly, I went to Shakespeare in the Park tonight to see this and all the women cheered *so loudly* when Beatrice said this line, and the guy in front of me looked around all shocked and a little scared and said “… oh wow” and it was ICONIQUE

The funniest part of this line is that it was considered hugely improper to eat ANYTHING in the marketplace so she’s not only saying she’d fuck him up but that she’d do it in a way that goes against social niceties.

Kinda like “I’ll fight you in church” or smth.

!

you know, i was mercutio in my middle school’s romeo and juliet, so some of you can go to bed with a smile tonight because at least one production existed where mercutio was a pakistani lesbian