anti-stratfordians dni

And the thing that made it absolutely terrifying was that Hamlet was the only one who reacted. He was cowering, and covering his ears with both hands, and yelling to be heard over the noise.

And no one else seemed to know why he was doing that. The other actors didn't even raise their voices.

Some pages:

”Look Hamlet.

Hamlet not happy.”

”Now Hamlet’s dad ghost.

The ghost can talk.”

Hamlet’s dad: Your weird new dad killed me.

”Ofelia’s brother dead.

Hamlet dead.

Now all dead.

So at the very beginning of the play there was a scene where Macbeth and Lady Macbeth are at a funeral as the primary mourners. A stretcher is carried on with a covered body. The body was notably very small. They laid flowers on it and Macbeth immediately left for battle.

Now *I* studied Shakespeare in college so I immediately knew there is one single line that implies that the Macbeths lost a child at some point. Most of the time this isn't utilized in productions; it's just a throwaway line, intended to paint just how determined Lady M is for this regicide thing to work and how furious she is that her husband has cold feet. In this production she delivers "I have given suck, and know how tender tis to love the babe that milks me" nearly in tears. She takes a moment to steel herself before saying, "I would while it was smiling in my face, have plucked my nipple from his boneless gums and dashed the brains pit, had I so sworn" and she very nearly SCREAMED this in Macbeth's face.

Also noted was how the Macbeths looked at Macduff's children. Lady M was clutching her heart, nearly breaking watching them embrace their parents. Macbeth could not even look at them.

At the end of Lady Macbeth's plot, when she is sleepwalking and sleeptalking, she is typically portrayed as speaking to no one or to her husband. However, at a certain point of her monologue she got on her knees, raised her voice to a comforting octave, and began miming tear wiping, hand holding, hair and face stroking, around a child-sized figure. "Wash your hands, put on your nightgown, look not so pale. I tell you yet again, Banquo’s buried; he cannot come out on’s grave." Then she stands and appears to take the child's hand. "Go to bed, go to bed. I can hear knocking at the gate-" then she looks down and realizes that no one is there, followed be the most heartbreaking shriek I've ever heard followed by a full minute of her just weeping while curled up on the floor before she stood up, finished her monologue and left the stage.

Most of the time when the loss of a child is utilized in a performance or adaptation, it is assumed that the child was an infant and lost some time ago. To imply that the child died IMMEDIATELY prior to the events of the play and had been cared for and loved by their parents for a few years adds such a fascinating layer to the desperation to ascend to the throne, Lady M's madness, and Macbeth's initial hesitation into "in for a penny, in for a pound" attitude, Macbeth's fury that Banquo's, not his, children will take the throne, and even Macbeth's eventual demise following a frenzied final battle.

How far will grief push you to fill a hole? How far will grief push you to desperation? And what happens when none of your new pursuits are filling the void left by the one you lost? And what happens when you realize you have nothing left to lose?

Oberon and Puck: -high-fiving in the bushes-

Titania: He’s just so hot! Makes my husband look ugly as fuck

Oberon and Puck: -high-fiving less-

Titania: I mean seriously, compared to you, guy with the actual head of a mule, Oberon looks like pixie-dusted shit

Oberon, strangling Puck: How much did you use

Puck: hhghh

Titania: You know what, fuck Oberon. I’m divorcing him tonight and taking you and my mortal friend’s hot son with me. 

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.

“Shakespeare wouldn’t have wanted this.”

“Good friend for Jesus sake forbeare, To dig the dust enclosed here. Blessed be the man that spares these stones, And cursed be he that moves my bones.”

Anthony and Cleopatra: here's the BBC version, here's a 2017 version.

As you like it: you'll find here an outdoor stage adaptation and here the BBC version. Here's Kenneth Brannagh's 2006 one.

Coriolanus: Here's a college play, here's the 1984 telefilm, here's the 2014 one with tom hiddleston. Here's the Ralph Fiennes 2011 one.

Cymbelline: Here's the 2014 one.

Hamlet: the 1948 Laurence Olivier one is here. The 1964 russian version is here and the 1964 american version is here. The 1964 Broadway production is here, the 1969 Williamson-Parfitt-Hopkins one is there, and the 1980 version is here. Here are part 1 and 2 of the 1990 BBC adaptation, the Kenneth Branagh 1996 Hamlet is here, the 2000 Ethan Hawke one is here. 2009 Tennant's here. And have the 2018 Almeida version here. On a sidenote, here's A Midwinter's Tale, about a man trying to make Hamlet. Andrew Scott's Hamlet is here.

Henry IV: part 1 and part 2 of the BBC 1989 version. And here's part 1 of a corwall school version.

Henry V: Laurence Olivier (who would have guessed) 1944 version. The 1989 Branagh version here. The BBC version is here.

Julius Caesar: here's the 1979 BBC adaptation, here the 1970 John Gielgud one. A theater Live from the late 2010's here.

King Lear: Laurence Olivier once again plays in here. And Gregory Kozintsev, who was I think in charge of the russian hamlet, has a king lear here. The 1975 BBC version is here. The Royal Shakespeare Compagny's 2008 version is here. The 1974 version with James Earl Jones is here. The 1953 Orson Wells one is here.

Macbeth: Here's the 1948 one, there the 1955 Joe McBeth. Here's the 1961 one with Sean Connery, and the 1966 BBC version is here. The 1969 radio one with Ian McKellen and Judi Dench is here, here's the 1971 by Roman Polanski, with spanish subtitles. The 1988 BBC one with portugese subtitles, and here the 2001 one). Here's Scotland, PA, the 2001 modern retelling. Rave Macbeth for anyone interested is here. And 2017 brings you this.

Measure for Measure: BBC version here. Hugo Weaving here.

The Merchant of Venice: here's a stage version, here's the 1980 movie, here the 1973 Lawrence Olivier movie, here's the 2004 movie with Al Pacino. The 2001 movie is here.

The Merry Wives of Windsor: the Royal Shakespeare Compagny gives you this movie.

A Midsummer Night's Dream: have this sponsored by the City of Columbia, and here the BBC version. Have the 1986 Duncan-Jennings version here. 2019 Live Theater version? Have it here!

Much Ado About Nothing: Here is the kenneth branagh version and here the Tennant and Tate 2011 version. Here's the 1984 version.

Othello: A Massachussets Performance here, the 2001 movie her is the Orson Wells movie with portuguese subtitles theree, and a fifteen minutes long lego adaptation here. THen if you want more good ole reliable you've got the BBC version here and there.

Richard II: here is the BBC version. If you want a more meta approach, here's the commentary for the Tennant version. 1997 one here.

Richard III: here's the 1955 one with Laurence Olivier. The 1995 one with Ian McKellen is no longer available at the previous link but I found it HERE.

Romeo and Juliet: here's the 1988 BBC version. Here's a stage production. 1954 brings you this. The french musical with english subtitles is here!

The Taming of the Shrew: the 1980 BBC version here and the 1988 one is here, sorry for the prior confusion. The 1929 version here, some Ontario stuff here, and here is the 1967 one with Richard Burton and Elizabeth Taylor. This one is the Shakespeare Retold modern retelling.

The Tempest: the 1979 one is here, the 2010 is here. Here is the 1988 one. Theater Live did a show of it in the late 2010's too.

Timon of Athens: here is the 1981 movie with Jonathan Pryce,

Troilus and Cressida can be found here

Titus Andronicus: the 1999 movie with Anthony Hopkins here

Twelfth night: here for the BBC, here for the 1970 version with Alec Guinness, Joan Plowright and Ralph Richardson.

Two Gentlemen of Verona: have the 2018 one here. The BBC version is here.

The Winter's Tale: the BBC version is here

Please do contribute if you find more. This is far from exhaustive.

Then there’s the dialogue between Horatio and Fortinbras at the end. Now that Hamlet is dead, it’s Horatios turn to step out of the shadows and finally take the centre stage.

—

Woke: Hamlet is clearly feigning madness and/or taking the piss when speaking to people he doesn’t trust, because in conversation with Horatio, the one person he trusts completely, he is entirely lucid

Oh? Oh really? You, adult living in 2022, you never went to a fancy Venetian masquerade in the 1590s and met a mysterious stranger and then your first conversation spontaneously forms a perfect sonnet? That's not a totally relatable experience for you?

Is Macbeth unrealistic because of the witches? Is Midsummer unrealistic because of the love potion?

Like, there's no explicit magic in Romeo and Juliet, but it still exists in a heightened reality, and overlooking the role that language plays within the text itself kneecaps your analysis of the intent.

When we hear of Romeo, his dad and friends are discussing his recent sad mood- he's upset because the girl he likes has no interest in him. His friends try to distract him from it with a party, but dont really seem to...connect with or fully empathize with his sadness. When we first hear of Juliet, her father and Paris are planning her marriage (without her input.) They are both talked about but not really listened to. The way they are spoken about isolates them from others.

Then they meet, and with no knowledge of each other, not even their names, they click into perfect rhythm. They finish each other rhymes. They form perfect ABAB quatrains in conversation, their sentences form a rhyming *couplet* at the end.

You know the song Ana sings with Hans in Frozen? Love is an open door? We finish each others- Sandwiches? Yeah- it's riffing on this. The idea that you meet someone perfect and right away your souls can make poetry together. The immediate intimacy of being so in sync that your introduction is a love poem.

I don't know, yall. Romeo and Juliet isn't a gritty hyper-realistic Oscar nominated docu-drama. It teters on the edge of fairy tale and myth, it leans on its language to convey deeper emotional truths that a 5 act play doesn't have the time to develop as deeply as we, in our world of movie montages and long form TV, are more accustomed to. This isn't a slow burn, pining, enemies to friends to lovers. It's soul mates love at first sight, and when you accept that, the play can get on with the business of saying what it wants to say about hate and the cycle of violence and social rules and decorum and how grudges and blood fueds can destroy the magic in the world if we let it.

"It doesn't matter if they are really in love. They should be allowed to be stupid hormonal teenagers without dying" I see many people say, and while I think that sentiment is true, I DO think it matters that they are in love. I think it matters that their meeting sparks a sonnet, and that poetry is snuffed out by the violence around them.